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Scanned from the collections of 
The Library of Congress 


Packard Campus 

for Audio Visual Conservation 

Motion Picture and Television Reading Room 

Recorded Sound Reference Center 


15 Qents 

J^ois J^ait 

y ailing in Jove with 


Seth Parker 

Ed Wynn 

George Rector 









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• They forgot about the world outside 
. . . about such things as unpaid bills . . . next 
month's rent . . . even the trouble about 
Europe ! All they remembered was that it was 
Spring again. All he knew was that She was a 
Very Beautiful Lady, and she, that He was 
a Very Gallant Gentleman. And so they danced 

. . . dreamily. . . happily. . . the while that 
able strummer of banjos, Harry Reser, and 
his talented Eskimos made music for them. 
Spring . . . banjos . . . Beautiful Lady. . . Gallant 
Gentleman... a floor divinely built for dancing 
feet . . . the tinkle of ice in glasses . . . Spring 
. . . ah, Spring! 


Madison Avenue at 45th Street, N.Y. 

Edward Clinton Fogg • Managing Director 

Radio Dk, r; s t 


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MAV 31 i932 

©C1B 156124 

Awarded Beauty Crown 

Hazel Johnson of KFYR Beauty 
Queen of American Radio 

Hazel Johnson, radio artist at station 
KFYR, Bismarck, N. D., is the winner in 
the campaign inaugurated by Radio Di- 
gest to find the most beautiful girl in 
American radio. The contest came to a 
close with the finals, the last voting day 
being May 3. Radio listeners were the 
voters and the judges of beauty. Thirty- 
two girls from as many stations through- 
out the country, including representatives 
of the national chains, vied for the honor. 

The preliminaries resulted in the elimi- 
nation of all but three of the contestants 
—Harriet Lee, of New York; Donna 
Dameral, of Chicago and Miss Johnson. 

The votes have been counted and Miss 
Johnson is the winner by a big margin. 
In the next issue of Radio Digest, the 
standing of the various contestants will 
be given. As the winner, Miss Johnon 
will have her portrait painted by a famous 
artist — Charles Sheldon, of New York, 
who has painted the portraits of many 
socially prominent personages as well as 
celebrities of the stage and screen. Her 
picture will adorn the cover of the next 
issue of Radio Digest, if it can be fin- 
ished in time, and then Miss Johnson will 
be presented with the original painting. 



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Printed in U. S. A. 


Raymond Bill, Editor 

Harold P. Brown, Charles R. Tigke, Nellie Revell, 

Managing Editor Associate Editor 

Henry J. Wright, Advisory Editor 

Associate Editor 

CONTENTS for JUNE, 1932 

Lait sings as she hurdles her hunter 
over the jumps — and also at WINS. 

SETH PARKER. Down East radio 
philosopher teaches hoboes to sing. 

rector Noyes at CBS tells what makes 
the Crime Club good radio drama. 

WEDDING BELLS only tinkle as 
hopeful brides and grooms watch 
corner for Prosperity's promised return. 

ED WYNN joins radio's laugh parade 
and gives the listeners a new twist of 
dial comedy. 

TO KNOW RUTH is to love her says 
a young correspondent in interview. 

TELLERS WHO, and why. Gallery of 
announcers for fan albums. 


voids any possibility of breach of 
promise action through the courts. 

TUNEFUL TOPICS are reviewed for 
the month by our popular critic. 

fury of Reds to win American success. 

EDITORIAL — Current comment. 


WHAT»S WRONG with the Radio 

drama? Script editor sits down and 

explains what gives her gray hairs. 
EATATORIAL. The folly Chef tells 

of the Old Days and bon vivants in 



Freeman H. Talbot, manager of KOA, 
says best talent originates in West. 

endar of top notchers for the week 
logged by the day and by the hour. 

Charles Sheldon 
Barry Holloway 8 
Douglas D. Connah 10 

The Office Boy U 

Harry Parke 16 

Only Jack 12 
Nellie Revell 18 

Dean G. L. Archer 20 

Rudy Vallee 24 

Ruth Witson 28 

Ray Bill 22 


Craig Rice 32 

George Rector 33 



Radio Digest. 42t Lexington Ave., New York, N. Y. Phone Mohawk 4-17M. Radio Digest will not be 
held responsible (or unsolicited manuscripts or art received through the mail. All manuscripts submitted 
should be accompanied by return postage. Business Staff: E. B. Munch, Advertising Manager, Ad- 
vertising Representatives, R. G. Maxwell A Co., 42* Lexington Ave., New York C:ty, and Mailers Bldg.. ' 
Chicago, Western Manager, Scott Klngwill, 333 North Michigan Ave., Chicago, Telephone: State XB». 
Pacific Coast Representative, W. I~ Oleeson, JOT Robert Dollar Building, San Francisco, Calif. 
Member Audit Bureau of Circulations. 

itudlo Digest.' Volume XXIX, No. 1. June, 1932. v Published monthly ten months of the year and bi-monthly In July 
and August, by Radio Digest Publishing Corporation, 420 Lexington Ave., New York, N. Y. Subscription rates yearly, 
$1.50 in U. 8. A.; Foreign, $3.00; Canada, $2.25; single copies, fifteen cents. Entered as second-class matter Nov. 18. 
1030, at the post office at New York, N. Y.. under the Act of March 3. 1879. Title Reg. V. 8. Patent flfnVe and Canada. 
'Copyright. 1932, by Radio Digest Publishing Corporation. All rights reserved. Pretidcnt, Raymond Bill; Vice-President. 
J. B. Splllane, Randolph Brown, C. R. Tlghe; Treoturer, Edward Lyman Bill; Secretary, L. J. Tompkins. Published 
In association with Edward Lyman Bill, Inc.. and Federated Publications, Inc. 

Radio Digest 

Television >h. 

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AGE " M " | 

._ — __J 

Radio Digest 

^keyAau umi cant, bid 

^et Enjoyable Programs 

Every day of 


Pioneer Designer of 'round the 
world broadcast receivers. 

Seven years ago, newspaper and magazine 
editors gave columns and columns of space 
to the amazing performance of a thereto- 
fore unknown receiver. They heralded the 
advent of transoceanic reception, on the 
broadcast band (200-550 meters) as the 
greatest radio achievement of the age. 
They named the receiver "World Record 
Super," because it brought in 117 pro- 
grams from 19 stations, ALL OVER 6000 
miles away, and WTTHIN THE SHORT 

This receiver was the work of E. H. 
Scott, who believed that a radio set designed in accord 
with certain advanced ideas of his own, and engi- 
neered to micrometric precision, would do things no 
other receiver was ever able to do. These sets were 
built in the laboratory. Not even a screw was touched 
by an unscientific hand, and tho radio industry was 
giveu a new target. 

During the following years, E. H. Scott set still 
higher standards for radio's performance. Today, as 
tho culmination of these efforts, he offers the Scott 
All-Wave, a hand-built instrument of scientific preci- 
sion that is sold with a guarantee of regular, 'round 
the world reception, or YOUR money back. 

ANY prominent radio engineers STILL contend that dependable daily 
reception of extremely distant foreign stations is impossible. 

"It can't be done !" they shout. They insist that the distance is too great — 
that atmospheric conditions are too variable — that signal strength is in- 
sufficiently constant — that if foreign reception is to be obtained at all, an 
iJeal location must be had — and, last, that there is no receiver generally 
available today that is sensitive enough to bring in foreign stations regularly. 

Many of those making these statements are receiver manufacturers ; men 
who have been forced to conclude that mass production methods cannot 

produce receivers ca- 
pable of regular foreign 
reception. Seeming dis- 
belief in the practicabil- 
ity of foreign reception 
is therefore the result 
of someone's failure. 
The only reason for sin- 
cere disbelief is igno- 
rance of the facts. 

You are entitled to 

the truth. It is your 

privilege to know the 

FACTS, because the 

most interesting — the 

most enjoyable world 

of radio is to be found 

between 15 and 200 meters. Hence, I have written this answer 

to disbelievers and to the unadvised, and I am spending my own 

money to publish these four pages of FACTS. 

You will find in them a full explanation of what foreign recep- 
tion is , how regularly it comes in ; what the programs are and 
how they sound. In addition — you'll find undeniable PROOF 
that the Scott All-Wave 15-550 meter Superheterodyne is certain 
to give you enjoyable round the world reception every day of 
every month of the year. Yes, EVERY day, even y /) A 
during the summer months ! I say, " You CAN do it !''^^>tcW ^ 


the whole world 

on a dial. 

Radio Digest 


from dozens of Foreidn Stations 
Every month of the "Year 

4Pa£es of 


Program Returned to Australia by Phone 

The engineer of VK3ME was curious to know with what quality 
his program was received in Chi- 
cago. He realized, of course, that 
clarity was sufficient to permit log- 
ging of details, but beyond that he 
was skeptical. So on January 23rd, 
1032 Mr. Scott telephoned VK3ME 
from Chicago, and while VK3ME's 
program was being received, 
f^ the telephone mouthpiece 
was pointed toward 


Reception from VK3ME sent bock to Melbourne, Australia, 
by telephone from Chicago by E. H. Scott. 


first proved regular reception possible 

For a considerable period, short wave broadcasts from England, 
France and Italy have been picked up by the broadcasting chains 
in this country, on highly developed laboratory-type short wave 
receivers and re-broadcasted on the 200-550 meter band to listen- 
ers in America. The fact that these broadcasts were always planned, 
weeks in advance, convinced us that their reception was contem- 
plated with absolute certainty. Why, then, couldn't all foreign 
broadcasts be depended upon? To ascertain whether or not they 
could be, we selected the station farthest from Chicago that broad- 
casted regularly, and set out to see how many of its programs we 
could pick up with the Scott All- Wave. 

All Programs Recorded 

VK3ME at Melbourne, Australia, is 9560 air miles from Chicago. 
This station broadcasts two times a week on a wave length of 
31.55 meters. The reception test was begun June 6th, 1931. Ten 
months have elapsed, and every broadcast (excepting three) was 
received with sufficient loud speaker volume to be clearly heard and 
logged. The three programs were-missed only because an illegal 
code transmission interfered. 

Each broadcast from VK3ME has not only been clearly heard, 
and its reception verified by the station, but they have all been 
recorded just as they came from the amplifier of the Scott All- 
Wave on aluminum discs. These recordings are available to anyone 
who wishes to hear them. 

"tosouM** * 

the speaker and the program 
sent back to Melbourne — another 
9560 miles, and with perfect clarity 
as verified by the engineer's written 
This 10 month test on reception from a point 
nearly 10,000 miles away, proves, beyond any 
doubt, that enjoyable foreign reception can be 
depended upon, IF the receiving equipment is competent. It 
PROVES that DISTANCE is no obstacle! And it PROVES that 
variable conditions of tho atmosphere are not insurmountable 
obstacles! To further substantiate our contentions we began a 
test of VK2ME at Sydney. VK2ME's acknowledgment of this 
reception is reproduced below. Both of these tests PROVE that 

there IS a receiver having 
more than enough sensi- 
tivity to detect and repro- 
duce the .broadcast from 
foreign stations regularly 
and with adequate volume! 




row wrvr "jyorrs xrcemo* T*ow joxt sots tbiattout: 
to TwirrrFim jaatjait mwrmo missive cow inoD tror 
cmohatolatioks wo* comiitwt mctrriow o>m statioh add 


Other Owners Do 
Even Better 

This remarkable perform- 
ance was not a stunt. It 
was not a freak happen- 
stance occurring to one 
Scott All- Wave ideally located and instalL-d. To the contrary, it 
appears as mediocre performance when compared to the 9,535 
logs of foreign reception sent to us during January, February and 
March from Scott All-Wave owners located in all parts of the 
country! These logs, constituting further proof of the practica- 
bility of foreign reception, are discussed on the next two pages. 

(Turn the page, please) 

Radio Digest 

9535 Detailed Logs 

by Scott 

tell What Ifau keen 


THE detail contained in this log, submitted 
by Mr. Roye Bilheimer of Pennsylvania, 
demonstrates the clarity with which the Scott 
All-Wave brings in foreign stations 10,000 
miles away. This log was made F#b. 28, 1932, 
and while only 30 minutes of it are shown 
here, the log, as submitted, covered the entire 
'1 consecutive hours of the broadcast. 

6:00 a.m. E.8.T.— Chlmei are heard striking the' hour of 
0:00 p.m., and you. lay, "Just 9:00 o'clock, Sunday 
evening." You go on to lay, "VK2ME. 47 York Street. 
Sydney, Australia, would be pleased to receive reports 
from those overseas relating to the reception of tlicso 
programs. Our next record li rather an interesting 
broadcast. I am going to play for you, a record 
recorded in Chicago. This record was picked up by Mr. 
Scott of Chicago, an ardent listener of VK2ME. It was 
tlicn recorded on hit home recording set, on aluminum 
discs, and then sent to VK2ME. and we will now play 
this record over for you, which will give you some Idea 
of tho reception In the X'nlted Statei, especially In 
Chicago. This is a musical selection by the lland of 
His Majesty's — — — — Guardi. Stand by a sec- 
ond, please." 

6:05 a.m. E.8.T.— VK2ME. Sydney, Australia. The record 
you have been listening to was one made In Chicago by 
Mr. Scott, un ardent listener to VK2ME. The original 
recording was transmitted some time ago and Mr. Scott 
received that recording, and cut in the record on his 
home recording set, and forwarded this to VK2ME. 
That was I he record which has Just arrived in Sydney 
and we have Just played It for you. to see how you will 
receive it. I shall now play for you the laugh of the 
••Kookaburra." that was also picked up In Chicago by 
the same gentleman. 

6:06'/ 3 ant. E.8.T.— Laugh of the "Kookaburra." Now you 
say. "That was the laugh of the •Kookaburra.' repro- 
duced In Chicago again after receiving the original 
recording from VK2MK We should be glad to receive 
reports from other listeners as to how they receive these 
recordings." A talk of the day Is entitled "Australia 
Commences the Travel Idea," prepared by Charles 
Holmes. Director of the Australian National Travelers' 
Association. Now you continue with the talk: 

"Set In the sunshine of southern seal, Australia Is the 
world's littlest continent. Australia Is a continent thai 
Is different from other lands In its appearance, Its geo- 
graphic formation, and Its strange animals, as well as 
Its age-old peoples. Then. too. the remainder of the 
native race that originally Inhabited Australia are a 
stone-age people, but now I wish you could see them In 
the Government Reservations, and In the far-back places 
of the continent, where many still lead their primitive 

6:12 a.m. E.8.T. — They were entertained by Australian 
aborigines who are located In a settlement there. They 
were amused to sec them throw their boomerangs, that 
itrange wooden weapon which, when thrown by a person, 
returns to the thrower, ami the visitors had an amusing 
time practicing among themselves. Rudolph Frlml gar.ed 
at a group of black fellows who were playing a tunc with 
the leaf of Hie eucalyptus tree, "Rose Marie." from tho 
famous play he had written. 

6:14 a.m. E.8.T. — You arc now speaking of native bears, 
and «ay: "Here the visitors saw the quaint and lovablo 
little bears. 'Living toys.' one visitor called them. One 
gentleman wanted to buy them outright, so enthused was 
he by these little native animals. Some of the ladles 
brought honey and candy, and were greatly disappointed 
when their gifts were refused by the bears. They prefer 
to get their own sweets from the eucalyptus tree. 

"Australia welcomes the visitor. Wc want the world 
to know us better, and we. ourselves, seek a greater 
knowledge of people of other lands. In these days, 
travel Is more than a great pleasure maker — It Is a 
great peace maker, and that Is what the world today Is 
most In need of. This concludes my short talk, entitled 
'Australia Commences the Travel Idea," prepared by 
Charles flolmes, Director of the Australian National 
Travelers' Association." 

6:15 a.m. E.8.T.— Thp Rand of Hli Majesty'! Air Force 
will play "Washington Braves," arranged by Victor 

6:18 a.m. E.8.T.— VK2ME, Sydney, Australia. Tou now 
give the time as IX minutes past 0:00 Sunday evening. 
Contralto lolo, "God Shall Wipe Away All Tears." by 

6:22'/, a.m. E.8.T.— VK2ME. Sydney, Australia. An or- 
gan solo, ".lust Imagine." hy Leslie .lames. 
This Is coming through with fine volume and clarity, 
although the weather here Is very had. It In vary 
foggy and rainy. 

6:25 a.m. E.8.T.— VK2ME. Sydney. Australia. The time 
Is 20 minutes past 9:00 Sunday evening. You now 
announce the neil selection, a waltr. 

6:30'/, a.m. E.8.T.— VK2ME. Sydney, Australia. The band 
of Ills Majesty's fluards directed by R. O. Evans, 
pluying "lntinni'7.7.o, by Reeves 

1 \: ' 







andpn/we the ob/Loiuie 
l)ependahUUyoft{h£SaMAU m W 

9,535 Detailed logs 
of foreign programs 
have been sent to us 
since January 1st, 
1932. All of these 
logs are complete — 
proving that the re- 
ception was not only 
heard, but that the 
clarity was perfect. 
Two of these logs are 
reproduced (in part 
only, for lack of 
space) on these 
pages. Think of it! 
9,535 logs from 186 
stations in 40 differ- 
ent foreign countries! 
It is difficult to un- 
derstand, how anyone 
after reading these 
logs, could believe that dependable, day in, day out foreign reception is anything 
but a complete, and thoroughly satisfactory actuality. 

What Countries Will You Hear? 

Any Wednesday, Saturday or Sunday morning you can tune in the Australian sta- 
tions and listen to a three hour program, in English, of course. Then if you wish 
something with a decidedly foreign flavor, you can dial Saigon, Indo-China, and 
listen to the weirdest, Eastern music you have ever heard. 

Right after breakfast, most any morning, you can tune in tho Radio Colonial at 
Paris, France — or Chelmsford, England, from which station comes an English version 
of the World's latest news. 

From 11:30 A. M. until 5 P. M. you have your choice of musical programs, talks, 
plays, etc. from Italy, France, Germany or England. In the late afternoon, the 
offerings from Portugal will be found very entertaining. 

In the evening you may have your choice of a dozen or more different stations 
including Colombia and Ecuador in South America. Then, too, there is Spain, and 

Is. this all? — Indeed not! — These arc just a few of the many foreign stations that 
will be found, on the dial of the Scott All-Wave. A complete list showing the exact 
time to tune dozens of foreign stations, is furnished with the receiver. 

What Will You Hear? 

From a large number of these foreign stations you'll hear news in English, and 
you'll delight in the variety of aspect the different countries give to an item of 
international interest. 

You'll hear music' from everywhere. Weird chants from Indo-China, and in con- 
trast, a tango from the Argentine. From Rome you'll hear the real Grand Opera- — 
you'll hear the voice of the Pope, the Vatican Choir and solo voices mellowed in 
Italian sunshine. From Germany you'll hear political speeches, music and news. 
From France, Spain and Portugal you'll a wonderful musical program that 
will thrill you hour after hour. From Fngland you'll hear plays — drama — comedy 
and musicnles; delightful presentations, refreshingly different from those to which 
you are accustomed. You'll never tire of foreign reception, because it never loses 
its novelty. 

Will the Reception Be Clear? 

Foreign stations arc tuned easily and smoothly with a Scott, All-Wave. As the dial 
is turned to the correct spot, the station comes on. in most cases, with the sjimo 
naturalness, clarity, anil roundness of tone that characterizes domestic reception. 

Radio Digest 

of Foreign Reception 

and flow Ifauhewi it 

Usually, you can have more volume than you wish, which means simply that the 
sensitivity may be lowered beneath the noise level, thereby permitting the program 
to come through with truly enjoyable bell-like clarity. There's no doubt about it. 
Dependable foreign reception is here; yours to thrill to; yours to enjoy as you have 
never enjoyed radio before. 

Read These Logs* 

The log reproduced at the right represents one day that E. B. Roberts of Massa- 
chusetts spent with his Scott All-Wave. During the day he journeyed from France 
to England, to Italy, back to France and in the evening to South America. The 
other log is that sent in by Mr. Roye Bilheimer of Pennsylvania who made a point 
of logging every word put on the air by VK2ME, Sydney, Australia, February 28, 
1932. If you have any doubt concerning the authenticity of these two logs or 
the others serit to us, see the auditors' report herewith. Read these logs — then con- 
sider that 9,533 more detailed logs bear witness to the new world of radio pleasure 
opened to YOU by the Scott All- Wave 15-550 meter Superheterodyne. 

Prove to yourself the 
practicability of 

Short Wave 
foreign reception 

These four pages have told the 
story of short wave foreign recep- 
tion in iio uncertain terms. They 
have PKOVKl) that clear, enjoy- 
able reception of foreign stations 
can bo enjoyed by anyone irre- 
spective of the state or country in 
which he lives. And we want to 
prove to you, right in your own 
home — that YOU can tune 'round 
the world whenever you choose and 
enjoy every program you hear. To 
do that, we'll build a Scott All- 
Wave 15-550 meter superhetero- 
dyne to your order ; we'll test it on 
reception from London, Sydney or 
Rome — and give you the exact dial 
readings. If you don't get enjoy- 
able foreign reception from tlieso 
stiit ions — if the receiver does not 
eclipse every statement made for 
it, you may return it and your 
money will be refunded. The cou- 
pon below will bring full particu- 
lars of this offer — also the techni- 
cs details of the Scott All-Wave. 

Typical of the many excellent models of Scott Con- 
soles, the Wellington is a beautiful example of deluxe 
cabinet artistry. Fashioned from burl walnut and 
finished to go with the finest furniture. The center 
drawer contains the optional phonograph equipment, 
which, when wanted, is supplied with an automatic 
ten record changer. 

Clip the coupon — mail it now. 

The E. H. Scott Radio Laboratories, Inc. 

4450 Ravenswood Ave., Depr. D 62, Chicago, 111. 

I The K. II. Scrtt Radio Laboratories Inc., , 

I 4450 Ravenswood Ave., Dept. >\) >'£!. 

I Chicago, III. 

| Send me full particulars of the Scott All-Wave ' 


I Name ... 

I Street ... 

I Town 




Wo hereby certify that we have 
examined and counted 9,535 logs of 
programs reported by purchasers of 
Scott All-Wave Receivers from 18(5 
stations, foreign to the country in 
which received, during the months 
of January, February, March, 1932. 

(Jiikknutt, Murphy, Poole & Co. 
C/rti/icd 1'ublic Accountants 

News and Music From Four Foreign 
Countries Received in One Day 

These logs, made March 7, 1932, and sub- 
mitted by E. B. Roberts of Massachusetts, 
indicate the variety of foreign programs 
that may be heard with a Scott All-Wave. 
For lack of space, only a portion of each log 
appears here. 


8:44'/2 a.m. E.S.T.— "This Is Radio Colonial Paris 
calling. Wavelength 1 a . f ; 8 meters." 

News in English from the Continental Dally Moil, Great 
Britain — The financial recovery of Great Britain has 
aroused the Interest of the world. 

8:45 a.m. E.S.T.— Chimes. 

From N. Y. , Sunday — The IT, S. view Is that tho world 
economic crisis Is behind. Sterling reflected by rising 
. to a new Men. 
From Geneva. Sunday — Small nations are not willing 
that the League's authority bo flaunted even If the 
larger nations are. 

From N. Y. , Sunday — Bulletin on the death of Band- 
master Sousa. 

8:5l'/j a.m. E.S.T. — From Berlin, Sunday — Speeches regard- 
ing the election mxt Sunday. Will Hlndenburg or 
Hitler he elected only question. 

8:55 a.m. E.S.T. — From N. Y., Sunday — The Lindberghs 
have turned to the underworld for help as the authori- 
ties seem helpless. 


I :I5 p.m. E.S.T. — Chimes. 

l:l5'/2 p.m. E.S.T. — This is the British Broadcasting Corp. 
calling short wove listeners of the British Empire 
through G.1SW. G'.SW broadcasts on a wave of 17,500 
kilocycles or 25.53 meters. 

1 :16 p.m. E.S.T. — Programs to be radiated today. 

1:17 p.m. E.S.T. — 1'rograms to be radiated tomorrow, March 
the 8th 

1:18 p.m. E.S.T. — News Bulletins for the Middle Zone. 
World copyrighted. 

Brland died t<xlay. An ardent advocate of peace. 
Bulletin regarding the Indian Budget. 
Far East Bulletin — Dr. Yen announced that China Is 
ready to enter negotiations to restore pcaco. The Jap- 
anese have no Intention of advancing further. 
Bulletin regarding the kidnaping of the Lindbergh 
baby — no news as yet. 


2:49 p.m. E.S.T. — Telling in Italian of tho results of the 
six-day bicycle race In Madison Squaro Garden, which 
was won by the team of McNamara-Peden. 

2:52 p.m. E.S.T. — Now talking about Piimo Camera and 
Young Strlbling. 

2:54 p.m. E.S.T.— 'Itaddio Boma-Napoll." 

News bulletins from the I'. S. A.. Shanghai and Toklo. 
News regarding tho Lindbergh baby. 

2:59 p.m. E.S.T.— Announcement. 

3:0l'/j p.m. E.S.T. — Announcement. Gave names of Italian 
cities. Music by orchestra between announcements. 

3:02 p.m. E.S.T.— Orchestra selection. 


.T.— "The Marseillaise." 

.T.— "Hilo. Hilo. let. Paree. Station Radio 

3:57 p 
3:59 p 
4:00 p 
4:06 p 
4:08 p 
4:15 p 
4:16 p 
4:21 p 

m. E.S 
m. E.S 
m. E.S 
m. E.S 
m. E.S 
m. E.S 
m. E.8 
m. E.S 

T. — Piano and violin selection. 
T. — Announcement. 
T. — Instrumental selection, 
T. — Announcement. 
T. — Cello solo. 
•T. — Announcement. 

8:25 p.m. E.8.T. — Vocal solo. Man singing native selection. 
8:28 p.m. E.8.T. — Announcement. 

Baritone solo, with choruses singing. 
8:33 p.m. E.8.T. — Announcement. 

Vocal duet. 
8:46 p.m. E.S.T. — Announcement. 
8:47 p.m. E.8.T. — Native Instrumental selection. 
8:50 p.m. E.8.T. — Announcement. 
8:53 p.m. E.S.T.— Dance music. VVoltJ. 
8:57 p.m. E.S.T. — Announcement. 

Baritone solo. 
9:02 p.m. E.8.T. — Announcement. 
9:03 p.m. E.8.T.— Native dance selection. 
9:06 p.m. E.8.T.— Announcement. 
9:00 p.m. E.S.T. — Station announcement. "1TKF, In Bogota, 

Colombia, South America." 
9:10 p.m. E.8.T. — Instrumental selection. 

Volume very good. Some fading. 

Alpaca for Tweeds 
and Goes Hymn Sing- 
ing in City Slums 

By Barry Holloway 

CRIMINALS, hop-heads, pan- 
handlers, and other breeds of 
down-and-outers of New York's 
Bowery — have combined with 
one of radio's best-known characters to 
present a series of programs over National 
Broadcasting Company networks, hailed 
as one of the unique broadcasts of the 

America's radio audience demanded 
variety, and Phillips H. Lord, 28-year-old 
creator of "Seth Parker and His Jones- 
port Neighbors," supplied it. 

In a dingy, smoke-filled basement room, 
whisky tenors blend in harmony with 
muggled baritones, and the unwashed of 
New York's rickety district forget their 
plight when Phil Lord stages a party and 
N a Bowery broadcast. 

Lord dropped the role of Seth Parker, 
the kindly old philosopher, when he went 
to the Bowery in an effort to aid some of 
the deserving in the street of lost men. 
Instead he was the natural athletic young 
man of 28, dressed in worn clothes and 
wearing a cap pulled to the side of his 
head. He acted as tough and rough as 
the best of the three hundred men who 
crowded into the narrow basement room 
which once housed the no- 
torious Tunnel saloon. 

It is a strange sight, the 
crew of motley men who 
crowd into that dingy 
room under the sidewalks 
of a Bowery street. It is 
a spacious room to most 
of the Bowery visitors — 
so much better than many 
are accustomed to, who 
sleep under stairs or in the 
open. Over the rumblings 
of their voices can be 
heard the scream of an oc- 
casional police car, and 
the roar of the elevated 
trains overhead. 

Men and women, who 
sit in the quiet of homes 
over the United States hear only a bit of 
the pathos, can sense little of the grime, 
nor know anything of the wrecks of hu- 
manity which Lord gathers there and aids. 

His "studio" is a dirty, smelly place — 
reeking with unwashed bodies, the stench 
of cheap liquor, and canned heat which 

Phil Lord 

Bowery sots consume for 
lack of nothing better to 
drink, or nothing better 
. to do. The microphone 
and the smiling face of 
Polly Robertson, who plays 
the organ in the "Seth 
Parker and His Jonesport 
Neighbors" programs, usu- 
ally are the only bright 
things in the room. "Polly" 
as the hoodlums call her, 
is the goddess of the Old 
Tunnel crowd. 

Even Lord's face be- 
trays a certain grimness 
as he leads the men in 
singing. One can scarcely 
wonder at that, however, after you look 
from the tiny platform across the 300 
faces, betraying as many types, and as 
many emotions. 

These men, who frequent Phil Lord's 
mission, and who take part in his NBC 
Bowery broadcasts, are more often than 

HE sordid atmosphere of 
the crowd is lessened only as the air in 
the low, unventilated room becomes filled 
with smoke from the cigarettes that Lord 
always gives the men. Then the grey 
smoke shrouds the harsher aspects. 

Lord acts as master of ceremonies only 
— the men stage their own party. He 
sings only when he is leading the singing. 
Solo numbers, quartets, and other fea- 
tures are presented by the men. As the 
singing gets underway, and such songs as 
"When Good Fellows Get Together," ring 
through the room, more often out of than 
in harmony, the "guests" begin to smile — 
toothless smiles, crooked, and leering. 

Phil Lord and kit 
Bowery boy* in a char- 
acteristic pose as they 
broadcast a program 
from the old Tunnel 
saloon, once a notorious 
rendezvous of the un- 
derworld. At the ex- 
treme left is Charlie, 
Chinese baritone of 
Doyer street, whose fa- 
vorite number is "Jesus 
Loves Me." Lord (cen- 
ter) seems to be enjoy- 
ing himself. 





Whether Lord is broadcasting his parties 
or not — he proves himself the natural 
showman. The men are at ease as soon 
as they enter the room. It is impossible 
for him to rehearse for a Bowery broad- 
cast, and be certain that the participants 
will be on hand the following night to 
take part. It is necessary for him to 
draft new "artists" at the last moment. 
The original "artists", too often do not 
appear, or when they do, are too intoxi- 
cated to participate. 

It is, however, a suprisingly orderly ag- 
gregation of hoodlums, drunkards, thieves, 
and down-and-outers, when one considers 
they eat only when they can beg or steal 
a meal, and spend their nights in Bowery 
flop houses, or on the streets. Perchance 
it is the novelty, or perhaps husky Dan 
Murphy, self appointed bouncer for Lord's 
Bowery parties, that keeps them under 

Dan, who has a crimminal record, is 
the life, as well as the terror of the 
gatherings. His wit brings laughs from 

all, and his frown with a curt 
"cut the gab" brings silence. 
Dan thinks Lord's name is 
typical of the sort of fellow 
Phil is. 


'URING one of 
the broadcasts a man, drunk 
and cursing, insisted upon 
talking into the microphone 
which was sending the pro- 
gram over a nation-wide NBC 
network. Lord was forced 
to knock the man into the ^"g ot Hoboes 

aisle. Dan, who had reached 
the platform, nodded his head for the 
man to leave. Soon Dan and some of 
his aides disappeared. When he reap- 
peared Dan confided to Miss Robertson, 
in a matter-of-fact way, that "the bozo 
was beat up and wouldn't bother no more." 
The Bowery likes Lord — as the visitor 
can see in a moment's glance across the 
crowded room of black and white faces as 

he enters. He has proven himself a swell 
guy, to their way of thinking, because he 
provides a meal ticket, a pass to his show, 
and small change each time they gather. 
Their banter at Bowery parties is 
gcod-natured. When one of their num- 
ber stands before them to sing, or recite 
some of his poetry, the per- 
former can deduce after a 
moment whether he will be 
able to finish. If it pleases 
they are quiet. If they are 
not pleased the only reason 
Jt i rotten cabbages are not tossed 

is because none are avail- 

Charlie, the toothless 
Chinese baritone of Doyer 
street, is one of the Bowery's 
most popular entertainers. 
When he sings "Jesus Loves 
Me," in broken English, tears 
come to the eyes of his lis- 
teners, and if he is broadcast- 
ing, he can count on a heavy fan mail. 
He has proved one of Lord's most pop- 
ular finds. 

The Tadpole, who with his musical saw 
has toured every civilized country in the 
World, is another whom Lord can usually 
depend upon to be on hand for a broad- 
cast. Tadpole has the Driftwood or- 
(Continued on page 48) 








Dana Noyes Who Has Produced Nearly 1,000 Scripts 
and Tells Douglas D. Connah What He Has Learned 

WHAT makes a good radio 
drama? Without the slight- 
est hesitation Dana Noyes 
will tell you that the con- 
stituents are but three, namely: an in- 
teresting script, a good group of actors, 
and proper technical direction. Naturally, 
this applies to any play, whether it be for 
the stage, the screen, or the air. The dif- 
ference lies in the technique, and the ac- 
tual production of the dramas themselves. 
And Noyes, the director, flourishes a 
giant novelty pencil for his scepter as he 
rules over the dramatic destinies of the 
Blue Coal Radio Revue, the Love Story 
Hour, and other outstanding script pro- 
grams of the air. He knows that technique 
backwards and forwards. He was schooled 
in dramatics in the old flickering begin- 
nings of the movies, when Vitagraph and 
Edison were names to conjure with in 
the realm of the silver screen. He cranked 
a camera when Madge Kennedy first 
emoted for Goldwyn, and since that time 
he has undergone a variety of experience 
both in that medium and on the legitimate 
stage, as actor, director, and what-have- 

His entry into radio, made some five 
or six years ago, was largely due to his 
technical interest in it, a factor which is 
now of inestimable value to him as a di- 
rector. He can put an amplifier together 
after taking it apart, build a radio set, 
and chat with radio engineers about 
acoustic properties and frequency curves. 
During this participation in radio he has 
directed close to 1000 radio dramas. As 
well as those mentioned, the True Story 
Hour, Detective Story Magazine (featur- 
ing "The Shadow"), True Detective 
Stories, Majestic Theater of the Air, and 
several other series have been produced 
under his direction. 

In discussing those essentials of good 
radio drama, involving a difference in 
technique between radio and the stage, 
Noyes draws a parallel between radio and 
the silent movies of bygone days. Both 
are built to appeal to one sense and yet 
to create the illusions of other senses (the 
radio to the ear and the movies to the 
eye) and yet both being able to go further 
than the stage in fostering those illusions 
by gaining a perspective not possible in 
the theatre. Such a development as a 
screen close-up can be duplicated in radio 
by a microphone, close-up. Crowd scenes 
on the screen, impossible on the stage, 
can give the illusion of crowd noise, and 
crowd noise in the radio studio can bring 
the listener a mental picture of the throng. 

Radio puts over its effect by the stress- 
ing of sound effects that define the de- 
sired atmosphere and situations that play 
on the imagination so that the listener 
may build his own illusion of sight and 


IOYES believes that there 
is little essential difference between a 
script suitable for radio and one for the 
stage, but that the whole trick lies in 
the actual production. Naturally, the 
radio script is shorter than the average 
stage script, thus being more comparable 
to the one-act play, and bearing some- 
what the same relation to the full length 
play that it does, in turn, to the novel. 
However radio's flexibility and compres- 
sion will allow it to encompass a much 
wider scope, not being limited as to num- 
ber and length of scenes. One scene may 
be disposed of in half a dozen lines of 
script, and change of time and place can 
be accomplished practically instantaneous- 
ly. Naturally, scripts involving plenty of 
action are most desirable. Probably the 
only good plays not readily adaptable for 
radio are those which depend largely for 
their appeal on little action and either re- 
flective and philosophical or smart and 
sophisticated by-play in dialogue. Al- 
though they have a wide following among 
a minority of theatergoers, these seldom 
achieve outstanding popularity in the 
theatre either. 

Among the tricks of radio production 
used to put across radio drama is one 
method originated by Noyes and now 
used practically universally — the musical 
curtain. Where first a narrator was used, 
reminiscent of the old Greek chorus in 
the ancient beginnings of the drama, 
Noyes evolved, with Columbia's musical 
director, Howard Barlow, the brief musi- 
cal interlude between scenes, passing in 
its musical atmosphere from the tempo 
of one scene to that of the next. The 
Blue Coal and Love Story programs and 
the Detective Story series with The Shad- 
ow (recently also a feature of the Blue 
Coal programs), with George Earle direct- 
ing the musical interludes, are all ex- 
cellent examples of this development, 
originally evolved by Noyes and Barlow 
some four years ago for the True Story 
broadcasts. A notable exception to this 
trend is found in the Eno Crime Club 
series, where a gong is slowly struck three 
times between each scene. 

Other features of production turn to 
advantage the very limitations of broad- 

casting, such as the sensitivity of the 
microphone. Exits and entrances are 
staged by microphone placement — by the 
distance of the actor from the mike — as 
well as by lines in this case necessary that 
are not needed in a stage script. Voices 
playing against each other at different 
microphone positions can give effects im- 
possible on the stage. Young lovers can 
whisper sweet nothings to each other over 
the air where they would have to shout 
them on the stage, thus enhancing the 
playing of soft love scenes. Sound effects 
can be much more illusory on the air on 
account of the sensitivity of the micro- 
phone, when you consider that salt poured 
on a sheet of paper will give the faithful 
effect of pouring rain and that the crink- 
ling in the hand of a sheet of cellophane 
will sound like the roar of a fire. 

Radio acting, Noyes will tell you, is far 
more than reading a script. Just as in 
the silent movies the actors had to speak 
their lines in order to get the proper ex- 
pression, the radio actor must go through 
his gestures and grimaces, as well as the 
lines. For this reason he prefers the 
radio actor who is an experienced prod- 
uct of the stage. Leading characters in 
a large -percent of the important radio 
dramas come from current theatrical pro- 
ductions in the local theatres. 


IOYES believes that the 
radio act, which is done with as soon as 
a program is signed off, can achieve far 
more spontaneity than the theatrical pres- 
entation, which runs for weeks and maybe 
months. In order to be sure that it is 
spontaneous, he has a method of rehears- 
ing that is all his own, but which is prob- 
ably evolved from his picture experience. 
He first rehearses his programs in bits 
which do not follow each other. They 
are put together for the first time at the 
dress rehearsal, and even then he does not 
rehearse the act all the way through with- 
out a break, but interrupts here and there 
with a comment. The orchestra and cast 
are rehearsed separately and the whole 
program, unbroken, is performed at once 
— when it is on the air. He believes that 
a good rehearsal means that the actors will 
relax and produce an inferior air per- 

Melodrama, easily adaptable to radio, 
with its screams, declamations, and 
strongly expressed emotion, has been re- 
vived by air dramatics, and detective and 
gangster plays have also been strong in 
popularity. All require plenty of action. 

WHEN you listened to "The Scorpion" from CBS, New York, did you picture a scene 
something like this? Yes, hunched over the table there, you see the rich but crabbed 
old Peter Van Wyck (portrayed by Louis Hector), standing beside him is that mysterious 
East Indian servant, Rangi (portrayed by Santos Ortega). Mr. Dana Noyes describes on 
opposite page some of the important factors that enter into good radio drama. 


Don Steel to Evelyn de Clairmont 

Jeanette Loff in character as bride. 


Scarcely a Tinkle for 

June Wedding Bells 

WHO among the brave as you 
listen to them night after 
night from your favorite 
broadcasting stations will 
march down that fateful aisle during this 
bright month of June? 

In times past Radio Digest has taken 
occasion at this time of year to chronicle 
those glad highlights in the lives 
of our entertainers of the air. Ac- 
cording to custom we sent inquiries 
to many of the leading stations and 
to the headquarters of the principal 
networks. At the time when we go 
to press just one single wedding has 
been announced to take place in 
June, 1932. Of course there may 
be surprises later on. But our cor- 
respondents have pried around to 
no little extent. They have re- 
luctantly reported failure. 

Miss Louise Landis of the NBC 
studios in San Francisco wrote as 
follows: "Sorry we can't find any 
more romance in our studios. We 
had a deluge of weddings last spring. 
If a few of the inevitable conse- 
quences appear soon, how about a 
layout of NBC babies? You may 
be interested to know that Lloyd 
E. Yoder in his zeal to procure some 
spring weddings for the June Radio Di- 
gest even went so far as to do a Miles 
Standish-John Alden stunt for one of our 
tenors (not Don Steel). But so far his 
. efforts have been unsuccessful; the Pris- 
cilla in the case just passed into a fit of 
giggles, and that was that." 

Our readers no doubt will agree with 
us that Miss Landis had better keep a 
weather eye open for those potential 
stork announcements. In the meantime 
we will read her report on the one dar- 
ing pair who have decided to marry this 
month. She writes: 


actor, and Miss Margaret Westcott of the 
Associated Oil Company (sponsors for the 
Associated Spotlights) will be married 
early in June. The prospective bride and 
groom first met far from the atmosphere 
of the studios. Details of the romance 
have been kept something of a mystery, 
just as they seem to have kept the plans 
for the wedding subrosa. 

"There is a reason. No doubt they 
still have in mind what happened to Jerry 
K'lhore, NBC announcer, who found odd 
and sundry signs plastered over his auto- 

mobile when he emerged from the church 
with his bride about a year ago. The em- 
barrassing fanfare followed the young 
couple all the way to Carmel, where they 
spent their honeymoon. As a matter of 
fact that was the last public wedding for 
any of our staff. From that time on 
weddings were not announced until some 

So comes 

again our lovely June with tears 
upon her cheek, 
Her golden tresses all awry, her haughty 
mien so meek! 
And all undone her lover's knot — impover- 
ished, bereft — 
She kneels before her ancient shrine, where 
little now is left. 
No gauzy veil, no wedding bellj no all-impas- 
sioned kiss; 
A 7 o solemn vows, or plighted ring, no Mrs. 
for a Miss — 
And creeping sadly in her train comes Cupid 
all forlorn, 
He's hocked his bow and arrows, and 
last year's pants are torn. 

"Why?" we demanded, "why is it you 
are not having any weddings?" 

"I guess people just can't afford to get 
married now," said the press representa- 
tive at 711 Fifth Avenue, New York. 
"You see, everybody is getting a salary 
slash. And hardly anyone is sure of hav- 
ing regular employment." 

"But among all your three thou- 
sand artists or so can't you find one 
or two' June weddings?" 

"Not this June, exactly. I sup- 
pose you know about Amos V 
Andy being married?" 

"Oh, yes, and Amos has two 
babies already!" 




time after the event had taken place. 

"Another wedding that will have passed 
when this is published will be that of Don 
Steel, tenor of the Hotel St. Francis or- 
chestra, heard nightly over the NBC- 
KGO network, to Miss Evelyn de Clair- 
mont of San Francisco, Mother's Day, 
May 8th. 

"Don and his bride-to-be met each 
other — believe it or not — on a raft in the 
middle of Searsville Lake, resort near San 
Francisco. Don saw a pretty girl swim- 
ming toward the raft, and admired her 
technique so much that he swam right 
after her, and clambered up on the raft 
to tell her so. After that — 'Well, I knew 
there was no other girl in the world for 
me,' says Don, thus spurning the flock of 
girls who send him letters through the 
NBC fan-mail department, telling him 
how they love to hear him sing. 

"The wedding takes place in the ro- 
mantic Little Chapel of the Flowers, 

Not a wedding is in prospect for June 
in any of the Chicago or New York 
studios according to our correspondents. 
A few are scattered here and there through 
the early part of the season. It has be- 
come necessary to go into history for 
these and sometimes far back. 

ET out!" 
"He married the secretary of 
the man who first got him started 
in radio blackface — " 

"The nearest we got to a June 
wedding is Em." 
"Yes, yes, go on — " 
"Well, Em is Helen King of our 
Chicago studios. You know, the 
'Em' of 'Clara, Lu and Em'. She's 
getting married to John Mitchell on May 
20th. Oh, yes, and on the very next day 
in a country church near New York City 
Miss Kathleen Stewart of the New York 
studios will walk down the aisle at the 
Palisades Presbyterian Church, Nyack, 
N. Y., to take the ring from Mr. Everett 
Martine of the Chase National Bank." 

"Well that's getting close to June. How 
about Buddy Rogers, does he show any 
signs of weakening?" 

"Say, Buddy is rushing around so fast 
with his orchestra he says he never has 
time to look at the same girl twice on 
the same day. But I really think he's 
afraid of the girls. He's worse than 
John Young, the announcer, who says 
every time he has had any idea of pro- 
posing he was frozen with horror for fear 
he would be rejected. Nothing could pos- 
sibly be more embarrassing, according to 
John. We just found out about a secret 
wedding that took place in our engineer- 
ing department on January 9th — " 

We called up Hilda Cole over at Co- 
lumbia and she did her very best to find 
out somebody who was thinking of get- 
ting married this June. But all in vain. 
"Why it's a positive disgrace," she said. 
"Something should be done about it." 
(Continued on page 48) 


RUT ET ING starts the day on her 150 acre farm by 
milking a cow ... a grand girl . . . climbed the ladder of suc- 
cess from the bottom . . . Ziegfeld star . . . recording artist . . . 
radio local and on the big chains in every state . . . male 
listeners love her. . . . but she sticks to the farm for health. 


ing years, Mr. Ziegfeld has featured Ruth 
the beautiful, in four more of his glori- 
fying hits. She has also contributed her 
charms to Ed Wynn's "Simple Simon;" 
and to Eddie Cantor's show "Whoopee". 
Between all these activities, Ruth has 

THIS bit of biography is written 
by one (my name is Jack) who 
heard her, saw her and jell for her. 
I am concealing my identity solely 
to avoid embarrassing so lovely and 
so adorable a girl as Ruth Etting. 
May I tell you about her? — Jack 

To Know Ruth 

is to 

MY EYES first glimpsed the 
charming Ruth Etting, as she 
stood swaying rhythmically up- 
on the stage, in a long black 
velvet gown, blended against a shimmer- 
ing back drop. A solitary spotlight was 
bathing her in an aurora of sublime sim- 
plicity, as she hypnotized the large au- 
dience with the captivating quality and 
dulcet melody of her enchanting voice. 
A pair of large dreamy eyes gazed un- 
seeingly at the crowded house before 
them, so carried away was she, by the 
ardor with which she infused each ballad* 
Her ashen-blonde hair and ruby-red lips 
stood out like precious gems inlaid in 
white ivory. Then, the song ended. The 
curtain fell — but the haunting spell of 
her personality lingered on. . . . 

Backstage before the dressing room 
door, I eagerly awaited the closeup of 
this transcendent luminary, whose re- 
nown as a "bluesinger" is universal. 
Nor was reality a disappointment. Her 
natural beauty, although screened by ex- 
cessive makeup, was distinctly apparent. 
Acknowledging our introduction in a soft 
melodious tone, she offered me a chair, 
and began conversing with amiable frank- 

Ruth Etting first saw the light of day 
in David City, Nebraska, the daughter of 
a fairly-well-to-do family. Being ex- 
ceptionally adept with a pencil (she used 
to spend hours, as a girl, copying the 
drawings of Nell Brinkley, whom she 
greatly admired), she decided to follow 
an artistic career. Which accounts for 
the fact that immediately upon her grad- 
uation from high school, she enrolled in 
"The Chicago Academy of Fine Arts." 
While attending this famous school, the 
students staged several amateur revues, 
in which, it was customary for Miss Et- 
ting to sing, sometimes in the chorus, 
and oftentimes a solo, as part of the per- 
formance. During one of these enter- 
tainments, an alert producer, seeing infinite 
possibilities in her magnetic voice and 
exquisite allure, offered her a contract! 
And thus it was, Ruth Etting left art 
school, for a stage career. 

Her rise was sensational! Within a 
year, she and her newly discovered voice 
were in the "Follies!" Then came an air 
audition. One of the big radio adver- 
tisers immediately signed her up, and now 
her bewitching voice is a favored visitor 
to thousands of American homes through- 
out the United States. In the interven- 


found time to become one of the most 

adored recording stars in America. She 

seems to become more wonderful each 


.ISS ETTING does not 
believe her success, or for that matter 
anyone's, is the sole dependent of ability. 
Patience and work all go into the mak- 
ing of even just one song. 

Every star gets press notices. Its part 
of the job of being a public celebrity. 
Critics hold the power to make — or break 
you. Ruth admitted she kept only her 
favorable writeups. At present she has 
five thousand of these all neatly filed. 
The natural question then arises — of this 
vast amount of publicity, has she any 
"favorite" article? She has. Whitney 
Bolton of the New York Telegraph, wrote 
it, when she was in the "Follies," some 
years ago. It reads: 

"Ruth Etting . . . out of place in the 
Follies, she ought to be in a hospital . . . 
anyone with a voice like that can sing 
paralytics into life, and heal wounds with 
her emotional croon . . . she should sing 
in the slums and spread sunshine . . . 
where the lifted structures cast heavy 
shadows on human misery . . . there is 
ultra-violet rays in those golden notes . . . 
she makes blues singers sound like dox- 
ologists or the man who gives the Arling- 
ton time signals." 

Everyone at some time in his or her life 
has lived through some pleasurable or 
thrilling happening. But now many have 
really accomplished a good deed, and 
brought pleasure to those less fortunate 

than ourselves, while "the proudest in- 
cident in their career" was unfolding? 
Ruth Etting has had just such an ex- 
perience. It happened in New York, 
where a song she made popular was in- 
strumental in suppressing the low-class 
dance halls of the big city, where under- 
paid overworked hostesses were eeking out 
a miserable drab existence. 

The song was — "Ten Cents A Dance!" 

The advent of Miss Etting's song hit, 
however, aroused public opinion to a 
high enough key, to warrant Commissioner 
Mulrooney to change the onus of the 
dance halls onto the broad shoulders of 
the police department, in whose capable 
hands justice was served with a moral 
propensity, that overode and completely 
obliterated the evil. And so, because a 
slim, blue-eyed girl with a golden voice 
made such a haunting appeal through 
every known medium of entertainment; 
what many consider the greatest civic 
reform in a decade has "mopped up" the 
sordid and disgraceful condition of "the 
dime a dance hall" in the great me- 

Ruth Etting's alluring complexion, 
comes no doubt, from being the possessor 
of what is commonly termed, "the farm 
girl complexion." Because each summer, 
without fail, finds Ruth back on her 150 
acre farm in David City. She believes 
that the old farm is the main factor in 
keeping her fit for the rushing life and 
fatiguing demands of New York. Here 
every summer, she builds up a vitality 
and healthy strength that carries her 
through until the next summer respite. 
An ordinary day goes off something like 

Out of bed at the first crowing of the 
rooster, and off to the pasture to milk 
the cow which has been assigned to her. 
Following breakfast, a long trot with her 
favorite horse is the order of the day. 
And Ruth thoroughly enjoys horseback 
riding. At the conclusion of a hearty 
lunch, the open fields and feeding the 
chickens occupy her fullest attentions. 
Then, after milking the same cow again, 
more to eat — and the day is closed with 
a long health restoring sleep. 

Among the anecdotes of Ruth Etting's, 
is the odd little tale of Ring Lardner, one 
of America's foremost humorists, who, 
while confined to his room for two years 
with a serious illness, had his barber shave 
him each morning to the accompanient of 
a Ruth Etting song record! 





THIS piece is about Ed Wynn, 
you see, Ed Wynn, the gag man 
who recently made his debut on 
the radio, you see, and who talks 
much as this paragraph will read if you 
can lisp and giggle. 

Ed Wynn is now a fire-chief, a new 
sort of life saver on the air — floundering 
in his insane way ahead, behind and in 
the middle of a fast moving program first 
presented over sixty stations of the NBC- 
WEAF network on Tuesday evening, Ap- 
ril 26th, and being repeated weekly on 
that evening from 9.30 to 10 o'clock 
(Eastern Daylight Time). 
The Fire-Chief program is very reveal- 

By Harry Parke 

{With interpolations from the act) 

ing. It proves that Graham McNamee is 
not the coach of the NBC football team; 
in fact, it shows that NBC has no foot- 
ball team. What's more, NBC is not 
even a college. The truth is that Mc- 
Namee now is a legitimate "straight man" 
his first such role. For example you hear 

Graham: Chief, what in the world have 

you in that box? 

Wynn: Why, wh-wh-why that's one of 

the things that make this program 

different. It sings with its legs . . . 

Yes, Graham . . . isn't that 

wonderful ... a cricket . . . 

Even Don Voorhees couldn't 

do that. 

So: Where one singer may 
be a crooner, and accordingly 
an evil (dependent, of course, 
on your own interpretation), 
eight singers grouped cannot be 
eight crooners or even one 

great crooner. They've quite got to be 
a straightaway, orthodox octette, such as 
the modified chorus which is flanking 
Wynn and McNamee on this Fire-Chief 
program. And good orthodoxy in these 
days is news. 

J. HERE is a band, natural- 
ly .. . Don Voorhees' band, come to 
radio from "Rain or Shine," "Ameri- 
cana," several editions of "Vanities" and 
other Broadway successes. Voorhees was 
raised, in part, on large doses of Bach, 
and Bach, be it known, is no light musi- 
cal diet. In fact, Voorhees, taking it as 
a child, probably has had a surfeit of it, 
so that now regardless of what McNamee 
calls for and what Wynn says he's going 
to get there is no telling what Voorhees 
is going to serve. 

Perhaps for the first time in your ex- 
perience you enjoy listening to the sales 
talk. Wynn gives it dramatic interest. 

Graham: Listen, Chief, there's a won- 
derful new gasoline on the market . . . 

Wynn: No, you don't say . . . well, 

Graham: Texas Fire-Chief gas. Fill up 
your tank with this gas, start from 
New York in the morning and you'll 
be in the middle of the Grand Canon 
by midnight. 

Wynn: Wouldn't that be terrible! I'd 
hate to pull up in the middle of the 

After the broadcast was 
over Ed Wynn the Fire 
Chief sat down and won- 
dered if people laughed. 


a u g h 



TJADIO awakes to a new dawn with America's 
J\. greatest showmen marshalling the parade. 
A laugh from the loudspeaker is priceless. Welcome, 
Ed. Wynn, we need you. A nation of listeners hears 
you and is laughing louder and longer than any audience 
you ever saw or heard over the footlights, Our hats 
are off to you for showing the others how to make an 
adblab INTERESTING. Editor. 

Grand Canon at midnight . . . 
Graham: And there are service stations 

everywhere in every state . . . 
Wynn: That's what I can't understand, 

Graham. I never could. 
Graham: Can't understand what? 
Wynn: How they know what corners 

to pick for filling stations. How can 

they tell they're going to find gasoline 

under those pumps? 

"This "Is a program that's different," as 
Wynn says. "No theme song, no croon- 
er, no soprano and no contests. It's dif- 

For instance, even McNamee laughs. 
If you merely listen in, you might not 
believe this, but if you sit in on the 
broadcast you'll see that he doubles up, 
and any radio announcer who doubles up 
(except to keep warm in a press box) 
must be hearing something. Which he 
does — take it from your own loud-speak- 
er. Commercial plugging falls into Mc- 
Namee's role, obviously, but it is one of 
the shortest allyoops for a product that 
has ever been heard on the -air. An- 
nouncements and things have been re- 
duced to. a minimum to obtain a stream- 
lined program, appropriately enough for 
any kind of an aerial job . . . 
radio, or airplane, or girl trapeze act. 

The Fire-Chief program, sponsored by 
the retail dealers of The Texas Company, 
goes out from the old Frolic theatre which 
is now NBC's Crystal Studio atop the 
New Amsterdam roof in New York. On 
this feature of his radio work, Wynn has 
been able to capitalize. The fact that 
he has a visible audience, that footlights 
are before him and that he wears any of 
his million funny looking pieces of head- 
gear, and his patched, oversized shoes and 
grotesque costume, makes for accentua- 
tion of the Wynn character — the bewild- 
ered, subdued, childlike zany, lisping and 
giggling and cracking his voice through 

his lines, fumbling with 
his hands and stumbling 
with his feet. The effect 
on the air is that Wynn 
flounders just as well 
verbally as he does be- 
hind the footlights bodily. 
When Ed Wynn 
launched his current show, 
"The Laugh Parade" he 
had no idea that he was 
heading for the larger 
laugh parade that frolics 
across the skies day and 
night from the great broad- 
casting stations of the 
country. But that is just 
what he did in a way that 
not even his most opti- 
mistic friends had hoped. 
One New York news- 
paper columnist comment- 
ing the next day said: 
"The sponsors are dancing on their desks 
today. There is a scramble on the part 
of agencies and sponsors for all the funny 
men and women they can find to join the 
big push that is catching the ear of mil- 
lions of radio listeners." 

J. HE Wynn program has 
definitely set the trend. Tastyeast and 
Ivory Soap seem to be out to corner the 
market. Pepsodent grabbed Amos 'n' 
Andy when they suddenly flared up with 
amazing popular interest at WMAQ in 
Chicago. For a while there were imita- 
tors of Amos 'n' Andy but imitators 
never do so well. The fact that people 
who listen to these two black face come- 
dians might respond to other forms of 
humor and philosophy was slowly recog- 
nized and then the parade of comic char- 
acter entertainers began to grow. 

Clang! Clang! The Fire Chief dathet 
out to join Radio'i Laugh Parade. 

Probably the greatest difficulty of the 
radio humorist is the necessity for con- 
stantly producing a new story either each 
day or every other day during the week. 
Generally, they write and act their own 
scripts. The principal criticism seems to 
be that sometimes the jokes are not new. 

Ed Wynn has given the thought of 
broadcasting plenty of consideration, and 
measured the demands from transmitter 
to receiver for their full value. Eddie 
Cantor did likewise. No matter how suc- 
cessful a man is on the stage, he must 
follow this course if he hopes to win the 
radio audience. But he must cut his own 
pattern, as the Eddie Cantor successors 
have sadly learned. There can be only 
one act of a kind. Ed Wynn has a clean 
cut technique of his own. If he can keep 
up the pace of a new show each week he 
is bound to make more money on the air 
than he ever has behind the footlights. 

Tellers Who, How and Why 



made Eddie Cantor famous as coffee 
salesman, NBC. He's cur-razy about 
dogs. Has two terriers. He's blond, 
25, and has been married three years. 

DAVID FORD BOND was soprano 
soloist in a Louisville church before he 
became baritone. Graduated from 
WHAS. Joined NBC, N. Y. Wife 
thinks he'll be an author, some day. 

GRAHAM McNAMEE, said to have 
best known voice in -world. 'Fraid it 
will change if he has bad tonsils re- 
moved. Began telling Who, How, etc. 
at WJZ ten years ago. Baritone. 

PATRICK J. KELLY, voyaged 250,000 
miles by sea, and was shipwrecked 
three times before he came to port at 
NBC, N. Y. He was born in Australia, 
married in Hungary. Tells for Nellie. 

JOHN SHAW YOUNG, pondering his 
future, flipped a coin and turned to 
Yale. Graduated. Joined WBZ-BZA. 
Has a polo complex, but can enjoy 
other sports. Bachelor by preference. 

ALOIS HAVRILLA growls, trills, sings 
and laughs loudly all the way from his 
home in N. J. to NBC studios, N. Y. 
Other motorists blame prohibition. It's 
only exercise for his vocal cords. 

headed for the bar when he decided to 
become professional ski jumper and 
skidded into radio. He won a wife 
and American diction medal for 1931. 

GERSEN herded cattle, and rolled his 
own before he was known for his 
"Adam's apple" roar. Loves horses 
and the sea but he lives alone. 

GEORGE HICKS now doing his Thir- 
teenth and luckiest job. Flivvered 
East from California and won first 
audition over 200 others. "I wonder 
what's next?" he asks, sometimes. 



New York Key Stations 

PAUL DOUGLAS, another Yale boy 
gone radio. Razzed sport racketeers 
at WCAU and 86 Philadelphia officials 
signed a fan letter to him. Single, 25, 
prefers those Russian cigarettes. 

KENNETH ROBERTS began his public 
career as a villain . . in "After Dark". 
He still has the mustache habit. Leers 
down at mike from 6 ft. 2. Grease 
paint thrills him. Keen for dramatics. 

ARNOLD MOSS, New York boy who 
made good in Cleveland at WTAM. 
Globe trotter. Goes in for languages, 
then travels where he can talk them. 
Is youngest CBS announcer in N. Y. 

FRED UTTAL, big, handsome, athletic, 
gave up selling electric dish-washers 
to try movies which led to radio. One 
hour after first audition he was work- 
ing on CBS program, remote control. 

by radio columnists America's Greatest 
Sports Announcer. Made word "pu- 
trid" famous at Harvard game. Talks 
football action faster than he thinks. 

you do!" Disappeared from air then 
came back at his highest pinnacle as 
"Society Playboy". He it considered 
courtliest of all radio announcers. 

HARRY von ZELL, cracked a hip bone 
in a football game at U. of Cal. and 
changed his whole career. Was called 
to a mike -without -warning, made good 
and has been on the air ever since. 

WILLIAM BRENTON was original 
Bob of True Story fame. Played part 
of radio announcer and then became 
a real announcer. He's a minister's 
son but never the proverbial kind. 

LOUIS DEAN, a de luxe announcer 
who began life on a farm near Valley 
Head, Ala. He joined the Navy and 
saw things during the war. Univer- 
sity gave him that mikable polish. 


Mutual Law Violation Voids Action 



Dean of Suffolk Law School, Boston 

A BREACH of promise suit is at best an 
ugly affair. We could not expect it to 
be otherwise if we remember that it is in- 
variably preceded by happenings calculated 
to arouse the most deadly of hostility be- 
tween the parties. A man who will trifle 
with the affections of a woman will not 
hesitate to set up any defense that the law 
will allow in seeking to escape financial 
responsibility in the # matter. 

In ordinary cases* where a lover proves 
false the girl may well consider that she is 
fortunate to have discovered his true char- 
acter before making the fatal mistake of 
marrying him. Even though she may have 
a right to sue him for damages, the notori- 
ety and embarrassment incident to such a 
suit would ordinarily prevent her from as- 
serting her legal rights. It is only in cases 
where grievous wrongs have been perpe- 
trated that a woman becomes desperate 
enough, unless she is the "gold digger" type, 
to bring suit for breach of promise at all. 
Usually it is the unmarried mother, fighting 
for the rights of her child who figures in the 
role of plaintiff in suits of this nature. So, 
as I said before, a breach, of promise suit is 
at best an ugly affair. 

Some phases of breach of promise cases 
are too sordid for discussion in a radio 
broadcast, but we cannot well overlook a 
very common defense that is set up in such 
cases — illegality of the agreement. 

When Is the Agreement Illegal 

AN ENGAGEMENT of marriage should 
be one of the highest and noblest ex- 
periences of life. There should be nothing 
mean nor sordid about it. The man's offer 
and the woman's acceptance should be free 
from ignoble considerations. For this reason, 
therefore, the law frowns upon any so-called 
engagement entered into as the inducement 
for surrender of chastity on the part of the 
woman. No such engagement will be en- 
forceable at law. 

Some very unfortunate and deplorable 
cases have come before the courts, where 
the evidence has been so clear, in establish- 
ing the illegality of the contract of engage- 
ment, that no damages could be awarded to 
the woman in the case. 

Addie Was Unwise 

ADDIE WOOD was twenty years of age 
at the time of the alleged engagement to 
Walter Saxon. It appeared in evidence that 
Saxon began to pay attentions to the girl 
more than a year before the promise of 
marriage. It appeared also that his inten- 
tions were unworthy. Unable to accomplish 
his purpose in any other way he promised 
the girl that if she would yield to his im- 
proper solicitations he would marry her in 
the Fall of that year, it then being early 
summer of 1889. 

He also agreed that if any evil befell her 
from thus yielding he would immediately 
marry her. About the middle of July Miss 

Wood notified Saxon that an immediate 
marriage was necessary, whereupon he re- 
fused to fulfill his agreement. The dis- 
tressed and unhappy girl consulted an older 
woman and the latter advised an immediate 
action for breach of promise. 

The suit was brought, but it dragged along 
in the courts for more than three years be- 
fore it was finally decided. After all of the 
shame and disgrace incident to the affair, the 
girl was unable to recover damages because 
the consideration for the defendant's prom- 
ise was illegal. 

The case was Saxon v. Wood, 4 Ind. App. 
242 ; 30 N. E. 797. 

C^UPPOSE the woman has re- 
kJ pented of her evil ways and ac- 
cepted a proposal of marriage from a 
man unfamiliar with her shady past 
, . . and suppose the man finds her out. 
Can he break the engagement and not 
be liable for breach of promise? 
Read the case of Abbie Foster in this 
scries of true life stories broadcast by 
Dean Archer of Suffolk Law School, 
Boston, over an NBC network, 
and published in monthly install- 
ments exclusively in Radio Digest. 

IT MUST not be supposed however that 
the man in the case last discussed could 
escape responsibility for the care and sup- 
port of his child. The law would hold him 
to that extent, but so far as the young 
woman was concerned the ordinary rules as 
to illegal contracts would apply. According 
to well established principles of law neither 
party to an illegal contract can acquire any 
rights against the other. The law simply 
refuses to have anything to do with an illegal 
contract, leaving the parties where they 
have placed themselves. 

If, however, a bona fide engagement of 
marriage is followed by a betrayal of the 
woman who had promised in good faith to 
marry the man, the immoral relation will 
not defeat the woman's right to maintain 
an action for breach of promise. If the 
original engagement is valid that is all that 
the courts will consider in fixing the rights 
of the woman. 

See Haus v. Moeller, 107 Mo. 471; 18 
S. W. 884. 

Character of Plaintiff 

THE character of the woman often be- 
comes of great importance in breach of 
promise suits. It is obvious that any man 
who engages himself to a woman whom he 

has a right to suppose is a virtuous and 
proper person should have a right to rescind 
his contract if he discovers that his fiancee 
is a woman of loose morals. If we remem- 
ber that a man has a right to divorce his 
wife for immoral conduct with other men, 
we will at once understand why the law 
absolves an engaged man from obligation to 
marry a woman who proves false to her 
pledges to him. 

The defendant, after a brief courtship, 
became engaged to marry the plaintiff, sup- 
posing her to be a chaste and virtuous 
young woman. For a time the defendant 
was as happy as the ordinary young lover, 
but he soon began to experience uneasiness 
concerning the undue friendliness for the girl 
on the part of a certain married man in the 
neighborhood. His suspicions aroused, the 
defendant resolved to investigate the situa- 
tion and thus to clear the plaintiff of un- 
justifiable suspicions or to confirm his fears. 
As it transpired, however, he soon discov- 
ered unmistakable evidence in hotel registers 
and otherwise of an unlawful intimacy be- 
tween the plaintiff and the married man. 

Too upset at first to know what course to 
pursue he finally went to the girl's home 
resolved to break the engagement. Pale 
faced and shaken with emotion he con- 
fronted her with evidence of her own mis- 
deeds. Frightened, but brazen in her guilt, 
the plaintiff denied criminal misconduct al- 
though she was obliged to confess certain 
compromising circumstances. The defendant 
refused to be hoodwinked and insisted upon 
breaking the engagement. 

The plaintiff brought suit for breach of 
promise of marriage. The defendant dem- 
onstrated to the court that his suspicions 
were amply justified. The court declared 
that if the jury were satisfied that the plain- 
tiff was in fact a loose and immodest woman 
and that the defendant broke his engagement 
for that reason then they would be justified 
in absolving the defendant from liability. 

The case was Espy v. Jones, 37 Ala. 379. 

Past Misconduct of Woman 

THERE are those who claim that neither 
man nor woman is under obligation to 
confess past misdeeds to a prospective wife 
or husband. They advance specious argu- 
ments to the effect that a man has a right 
to live his own life as he pleases and that 
what he may have done in the past is of 
no importance at present. This argument 
applies equally to the woman. 

Then too there is an ancient adage that 
all is fair in love or war, which some people 
interpret as meaning that a person is under 
no obligation to confess anything that might 
defeat one's chances to win a promise of 
marriage from the object of adoration. But 
the law takes no such lenient view of the 
matter. For a woman to conceal past mis- 
conduct, especially involving sexual immor- 
ality, will entitle the man to break the en- 
gagement, provided he does so immediately 
upon learning of the facts. 


Damaged Goods 

ABBIE FOSTER was a young woman 
"with a past". She had been im- 
properly and immodestly intimate with a 
married man named Fuller, who had per- 
haps become weary of the illegal relation. 
Abbie had thereupon reformed. When the 
defendant, Henry Hanchett, came to town 
to live she appeared to him to be a modest 
and proper young woman, in every way fit 
to be a wife. Henry Hanchett paid court 
to the girl and soon found himself deeply 
in love. While Abbie's conscience may have 
troubled her at thus deceiving a trusting 
young man, yet she consoled herself that 
what Henry did not know would never hurt 
him. So the young man yielded to the 
witchery of moonlight and the art of an ex- 
perienced enchantress. He proposed and 
Abbie promptly accepted him. 

Shortly after their engagement was an- 
nounced Henry began to receive mysterious 
hints that his "light-o-love" was not all that 
she should be. Scandal is one of the most 
easily discovered items of information con- 
cerning anyone. But Henry Hanchett was 
not content with mere scandal. He investi- 
gated the facts and confronted Abbie with 
his findings. She tearfully admitted the 
truth of the allegations but pleaded youth 
and inexperience as the reasons for yielding 
to a designing philanderer. She assured the 
angry man that she had repented and re- 
formed, but Henry declared that he would 
never marry a woman against whom the 
finger of scorn could be pointed. So he 
broke the engagement. Abbie sued for 
breach of promise of marriage. 

At the trial there was some question 
whether the failure of the plaintiff to dis- 
close the compromising facts would amount 
to an absolute defense or could be set up 
merely as mitigation of damages. The court 
held that "if any man has been paying his 
addresses to one whom he supposes to be a 
modest person, and afterward discovers her 
to be a loose and immodest woman, he is 
justified in breaking any promise of marriage 
that he may have made to her." 

The case was Foster v. Hanchett, 68 Vt. 
319; 35 Atl. 316. 

Half Truth Equivalent to 
Concealment ' 

WE HAVE a common saying that half 
a truth is as bad as a lie. This doc- 
trine has found favor in the law to such an 
extent that a person who tells nothing but 
the truth may nevertheless be guilty of 
deceit if there is more truth that should have' 
been told. You are perhaps familiar with 
the form of oath commonly administered 
in court, when a witness is required to 
swear that his testimony will be "the truth, 
the whole truth and nothing but the truth. ' 
If, therefore, a woman tells her lover the 
truth but yet fails to disclose other damaging 
facts that would have given a very different 
complexion to the facts first related, she is 
guilty of deceit and may forfeit her rights 
to the engagement of marriage. 

The plaintiff was a young and attractive 
woman. The defendant was well along in 
years and possessed of considerable wealth, 
which was perhaps his chief attraction so far 
as the plaintiff was concerned. She repre- 
sented herself as the daughter of a promi- 
nent lawyer of South Carolina. She claimed 
that her mother belonged to one of the best 
white families in the South, which might 
have been true. She failed to state, how- 
ever, that her mother had some negro blood. 
She stated that after the death of her lawyer 
father her mother had married again but 
that the second marriage was not popular 
with her mother's people, so the family 
moved to California. The fact was that the 
second husband was a colored barber, an 
octoroon, and gossip did not hesitate to 

name him as the reputed father of the 

She Wielded a Carving Knife 

A MOTHER half truth was her statement 
■**■ that, before leaving the Pacific Coast, 
she had obtained a divorce from her hus- 
band for cruel and abusive treatment. She 
failed to state that her husband had filed a 
cross bill and had secured a divorce from 
her in which he had charged her with pos- 
session of a violent and ungovernable tem- 
per; that she was jealous, revengeful and 
vicious. He charged her with having as- 

Dean Gleason L. Archer 1.LD. 

saulted him with a carving knife and with 
using profane epithets concerning himself 
and his relatives. 

The female plaintiff must have been un- 
usually attractive and the defendant over- 
burdened with wealth for, notwithstanding 
all of these facts, the jury awarded the 
woman $40,000 damages for breach of prom- 
ise of marriage. The Supreme Court of 
Massachusetts, however, took a very differ- 
ent view of the case. It declared that fail- 
ure to reveal the whole truth in each of 

these particulars amounted to fraud for 
which the defendant had a right to break 
off the engagement. 

The case was VanHouton v. Morse, 162 
Mass. 414. 38 N. E. 705. 

Is Man Obliged to 
Marry Invalid 

WE HAVE CONSIDERED the right of 
of a man to break his engagement to 
a woman to whom he had proposed in a 
belief that she was a modest and virtuous 
woman but who later proves to be immoral. 
This right, as I have indicated his based upon 
the fact that the man was deceived in the 
true character of the woman when he offered 
himself in marriage. This rule applies 
whether the woman has taken any measures 
to conceal her past or whether she simply 
refrains from giving the man unsolicited in- 
formation concerning her conduct with other 

But now suppose we have a situation 
where a man, who is in love with a woman, 
learns of her past misdeeds, either from her 
own lips or otherwise, but who nevertheless 
persists in his endeavor to persuade her to 
marry him. May he thereafter break his en- 
gagement and excuse himself by alleging the 
unchastity of which he was familiar at the 
time of the engagement? 

Proposal With Knowledge of Shady 

TT SHOULD appeal to all fair minded peo- 
■*- pie that if a man, acting with knowledge 
of the facts, asks a woman to marry him, he 
should thereafter have no right to use the 
past transgressions as a weapon of defense. 
We all know that if a married man, know- 
ing that his wife has violated her marriage 
vows, nevertheless receives her again in his 
home and treats her as a wife, the law 
considers that act of forgiveness as con- 
donation of her offense. He cannot after- 
ward use that misconduct as a ground for 

The law treats this other question in much 
the same way. If a man knows that his 
sweetheart has been indiscreet in the past 
but nevertheless asks her to marry him, 
his act is in itself a waiver or condonation 
that will thereafter prevent him from es- 
caping the obigations of an engagement of 

For example: The defendant who him- 
self "had sown wild oats", as the saying 
goes, had known the plaintiff for some years 
as a girl who had also sown her wild oats. 
He knew, for instance, that she had eloped 
with a man and had lived with him for some 
months without being married. Notwith- 
standing these facts he began to keep com- 
pany with the plaintiff. The girl soon fell 
deeply in love with him. They became en- 
gaged to be married. All went happily for 
a time. It was not until dissensions devel- 
oped between this very sophisticated couple 
that the defendant began to repent of his 
engagement. The plaintiff's exactions and 
jealousy were no doubt the chief causes of 
the breach of the engagement. The plain- 
tiff sued for breach of promise. The de- 
fendant endeavored to set up the woman's 
misconduct previous to the engagement as 
exoneration for his own action in breaking 
the engagement. The court held that the 
defendant was in no way deceived in the 
woman. He knew that she was "damaged 
goods" when he asked her to marry him. 
While she would not be able to recover the 
same amount of damages that a virtuous 
and proper maiden might be awarded for 
such a breach, yet the defendant was liable 
to her for breach of promise. 


Broadcasting from 

The Editor's Chair 

DIVINE RIGHT. We have no kings in the United 
States but we do have members of Congress. And 
United States Representatives have Divine Rights. At 
least so it would seem from a complaint recently registered 
with the Federal Radio Commission by Representative Celler 
of New York. Mr. Celler is in great dudgeon because of 
alleged slights on the part of officials at WOR who presumed 
to delete words from his broadcast proclamation. 

"And," says His Representative Highness Celler, to the 
chairman of the Commission, "I am informed that there is a 
book or list containing all so-called indelicate or prohibited 
words. This book of tabooed words circulates among station 
managers. I therefore ask the Federal Radio Commission to 
inaugurate an inquiry as to all these matters, and particularly 
as to this index expurgatorius." 

At the word "expurgatorius" General Saltzman, the chair- 
man, raised a startled eyebrow. He did not know that United 
States Representatives had Divine Rights. He had a vague 
notion that the United States government could do nothing 
about such a situation. He replied somewhat to that effect. 
Red anger flushed the Royal cheek at this insubordination; 
"Furthermore, I demand," rasped His Highness, "that the Com- 
mission summon the operators or owners of Station WOR and 
have them show cause why they should not be reprimanded, or 
otherwise punished for summarily censoring my speech, with- 
out apparent justification." 

Lese Majesty! Such impertinence! Summon the Royal ex- 
ecutioner at once! Off with their heads ! 

And still we wonder why the national budget is in such a 
muddle at Washington ! It might be well to wonder too what 
would happen if men such as Mr. Celler really did have un- 
bridled gabbing license under government control of radio ! 

I PUTTING THE ATOM. All the scientific world has been 
thrilled by the announcement that the atom has been taken 
into the laboratory and split apart from whatever it is 
that makes an atom an atom. The fantastic prediction that 
when this should be accomplished the earth would immediately 
go up in smoke completely disintegrated has not been fulfilled. 
But there is a process of splitting up the elements of society 
which has a more serious menace for civilization. It applies to 
organization and counter-organization to create disruptive 
forces. We find it in government, banking, industry, labor and 
radio. What enormous pressure has been brought to bear to 
disrupt our American Plan of broadcasting, the most successful 
plan ever tried ! 

When envious eyes saw great sums of advertising money 
diverted to radio where the listener got direct results from ad- 
vertising appropriations through programs of artistic merit 
the trouble began. There was a loud howl against "advertis- 
ing blah" on the air. 

Senator C. C. Dill from Washington in an address before 
the annual convention of the American Association of Adver- 
tising Agencies in Washington, D. C, last April said in part: 

"You have newspaper opposition, and they seize upon every 
weakness that they can find for the purpose of building up 
public sentiment against the radio that carries advertising. 

"Then you have the educational 
forces of the country fighting adver- 
tising . . . they are quick to find any- 
thing objectionable that they can in 
the advertising in order to build up 
public sentiment against further 
grants of radio facilities to com- 
mercial stations using advertising 

"Then there are the reform people 
... I was going to say 'churches' but that would hardly be fair. 
But it is the people who are looking for something to reform, and 
they seize upon anything they can find in advertising which they 
claim is objectionable to the morals of the people ..." 

That is the pressure as applied to advertising. Perhaps 
some of this pressure may be traced to other elements more 
subtle. Take Jimmy Petrillo in Chicago who. thought that he 
could put on the screws by threatening to "pull out" all the 
leading orchestras for a higher wage. For the first time jn his 
notorious career he was defeated when the broadcasters stocked 
up with records and told him to go ahead and "call them out". 
The latest attack on radio has been through the fist of the 
Composers association, who demand a 300 per cent increase, 
or 5 per cent of the gross income from each station for royalty. 
Although the stations — especially the big chains — have shown 
a large increase in revenue their increase in expenses has been 
in equal ratio. And in recent months broadcasting appropri- 
ations have been affected by the depression. The National 
Broadcasting Company has had to reduce salaries and cut down 
personnel. The same is true of the Columbia Broadcasting 
System, the individual stations and smaller chains. 

This new attack means that where the Composers of the "By 
Special Permission of the Copyright Owners" clique received 
$983,000 for broadcasting use of their songs in 1931 they hope 
to get about $4,000,000 from radio for their songs in 1932. 
But neither it nor the proposed 5 per cent tax on wires leased 
for broadcasting will destroy the American Plan of Radio 
broadcasting. Nor will it force radio into the hands of the 
government as a plaything for the blatant politicians. Never- 
theless, the radio public must keep ever alert against the wiles 
of cunning propaganda and ever ready to make itself heard and 
heeded as regards maintenance of the American plan. 

BAIT AND BAITER. It's fishing time again. What 
kind of bait do you use — or worms? Of course every- 
body uses worms some of the time. But the sportsman 
who takes his fishing seriously equips himself with a carefully 
selected assortment of bait. He chooses the right kind of fly 
for one specific kind of fish. Or he uses other kinds — perhaps 
live bait — for other kinds of fish not interested in flies. Some- 
times we have thought of broadcasting as a great sport of 
fishing for listeners. And there are almost as many kinds of 
listeners as there are fish. Each doubtless answers to his own 
particular lure. But are the advertising broadcasters as judi- 
cious in their selection of lures as are the fishermen? Consider 
just one example of many. Is it really logical to expect a 
gentle housewife — who orders the food for the table — to tune 
in a Joe Palooka program ? Does she care about the poolroom 
parlance and fisticuffs of what Palooka calls "mugs"? And 
as for the male in the house, does he care, about or buy the 
rice flakes which this program advertises. Wouldn't it be bet- 
ter all around if Joe Palooka's program tied up to a cigar or a 
gymnasium muscle maker. This is- a plea for the listeners. 
Give them the kind of "program bait" that they like best and 
great will be your reward. But do let the program interest the 
kind of men or women to whom the sponsored product should 
appeal most widely. Ray Bill 




/ u n 

e f u 1 


o p 1 c s 


" Y T 0T CHA " TUNES. I suppose 
M M that some day I am going to get 
M M myself into hot water as I dis- 
cuss the songs of various musi- 
cal comedies and revues, because it is 
well-nigh impossible to talk about the 
songs without mentioning something about 
the show. Not being in accord with the 
popular Broadway fallacy that it is ne- 
cessary to knock, tear down, desecrate 
and revile everything and anything in 
order to attract attention to one's writ- 
ings, I prefer wherever possible to make 
the most pleasing and agreeable comments 
about things I am discussing. At any 
time I do discuss anything, I feel like 
prefixing every statement with "In my 
humble opinion," or "I alone think," in- 
tending thereby to convey the thought 
that I realize that my opinion is just one 
of many millions, and my judgment in 
most things artistic is so subject to error 
and argument that it is not even funny! 
Of course it is difficult for me to discuss 
other artists in my own profession, or 
shows which rival the particular show in 
which I happen to be appearing. 

Messrs. Brown and Henderson will re- 
call the very enthusiastic and laudatory 
remarks in these same pages when I dis- 
cussed the songs from "Scandals" long 
before "Scandals" was thoroughly 
launched in rehearsal. I am glad that I 
can once again be just as laudatory about 
the tunes and lyrics of their songs in 
"Hot-Cha," but because their idea of 
humor is different from my own rather 
conservative and less boisterous apprecia- 
tion of the subtle Fred Allen type of 
humor, I cannot extend the same laurel 
wreath for the rest of their work in 
writing the book of the show. However, 
I am very much in a minority, as the 
show has been doing handsomely since its 
inception, and the particular night I wit- 
nessed it the audience applauded and 
howled and seemed to enjoy every mo- 
ment of it. That, after all, is the an- 
swer; at least in the show business it is. 
The three songs which are outstanding 
in the show seem to me to be on a par, 
one with another. All of them are very 
sweet and make either good dancing or 
singing material. For me, and evidently 
from the way it has been featured and 
handled by other bands, the outstanding 
A BED OF ROSES. There were those 
who, on taking a first look at the title, 
or upon hearing it for the first time, felt 
that Messrs. Brown and Henderson were 

trying to irritate Mr. George White all 
the more after their fistic encounter on 
the first evening of the "Scandals," by 
writing a song along the lines of "Life Is 
Just A Bowl of Cherries." However, 
there is little or no similarity between the 
two songs, and although YOU COULD 
may soar to great heights from the 
standpoint of public appreciation, it will 
never be gagged about, or used as much 
here, there and everywhere, as was "Life 
Is Just A Bowl Of Cherries." The song 
is a mighty good one, extremely rhythmic 
with lovely harmonies, and the orchestra 
under the able direction of Al Goodman 
accompanies perfectly Buddy Rogers and 
the young lady who sang it with him. 

It is difficult in describing a song writ- 
ten by Brown and Henderson to say which 
of the two deserves the most credit. Hen- 
derson will always be one of the out- 
standing young song-writers whose melo- 
dies are always different, beautiful and 
intrinsically fine; this song is no excep- 
tion. However, it is only Lew Brown who 
can think of the unusually clever lyrics, 
such as "You could make my life a bed 
of roses, Or you can make it like a sour 
apple tree," and lines such as "You can 
even have me rubbing noses with fish 
down at the bottom of the sea." 
Thoughts like this come to Brown in 
lightning flashes; there is little wrinkling 
of the brow with Lew. When he writes 
a song, rather as he stands talking to 
you in conversation does he write the 
song, invariably beginning with "The fel- 
ler says," and continuing on with the 
lyrics which can only come from one 
"feller" with a divine spark for lyrical 
song-writing, which unquestionably Brown 
has, and which his worst enemy must 

With the charming and vivacions Lupe 
Velez, Buddy again has another chance to 
do one of the loveliest of the three songs, 
called SAY. I had hoped the song might 
be another "Who," as one-word title 
songs have all aimed at the particular 
prominence that Jerome Kern achieved 
in the writing of "Who" from "Sunny." 
However, SAY, while destined for much 
dance and radio popularity is very un- 
likely to achieve the prominence of the 
song which George Olsen made famous, 
and which in turn made him famous. 
Personally, I thought that Buddy's ren- 
dition of this was better than his rendition 
BED OF ROSES, and the Httle dance he 

did with Lupe was exceedingly graceful 
and neat. The orchestra also flashed 
brilliantly in its dynamics or emphasis in 
the playing of SAY. 

Henderson is one man who writes melo- 
dies that are never like any other melody. 
I am happy indeed not to have to very 
tritely say that the melody of this song 
resembles that of any other; even though 
my pianist, Cliff Burwell, insists that it 
sounds like "Rose of Washington Square," 
to me the resemblance is so exceedingly 
slight as to make it worthless to mention. 
Of course, if anyone goes back far 
enough in examining songs written in the 
last 20 or 30 years, it is a simple matter 
to find counterparts somewhere in some 

Buddy's very lovely American flame in 
the show, with Lupe attempting to wean 
him away from her throughout the en- 
tire performance, Miss June Knight, in- 
troduces and sings very beautifully, . at 
least I took issue with most of the ladies 
in my party that she not only was very 
beautiful but had an exceptionally fine 
voice, the third song, THERE I GO 
DREAMING AGAIN, and again Mr. 
Lew Brown takes a bow for an exceed- 
ingly fine twist to lyrics. 

As I say to all amateur song writers, 
study the lyrics of Lew Brown to discover 
a pattern of the unusual in lyric writing. 

The songs are all published by De- 
Sylva, Brown and Henderson, and all of 
them should be played as they are in the 
show, that is to say about SO seconds to 
the chorus, with perhaps YOU COULD 
requiring the slowest treatment of all 

r\NE DAY IN MAY. The firm of 
^ Shapiro Bernstein are pinning their 
faith and their all on a song written by 
one of their staff writers, whose death 
shocked the entire world of song-writers 
and publishers, and which occurred in the 
middle of April. Few people remember 
the name of Robert A. King, but nearly 
everyone remembers "Beautiful Ohio." 
"Beautiful Ohio," according to Louis 
Bernstein, sold some five million copies, 
which gives it the record of sheet music 
sales over that and all other songs., On 
every sheet copy was printed the name 
Mary Earl, who was none other than our 
good friend, Robert A. King, or Bob, 
as he was lovingly known to contempo- 
raries along Tin Pan Alley. He numbered 
among his beloved associates men like 


Victor Herbert and John Philip Sousa. 

I had the honor and pleasure of meeting 
him several times during the summer of 
1931, while playing at the Pennsylvania 
Roof. He brought me several songs 
which he hoped to be outstanding. 

In writing ONE DAY IN MAY with 
Sam Lewis, who is also one of Tin Pan 
Alley's finest lyric writers, Bob has writ- 
ten in the vein of his own day, a song 
which borders on the semi-classic type 
of composition, yet enough up-to-date that 
the bands of today will enjoy playing it. 
When he wrote "Beautiful Ohio," he kept 
in mind the beautiful melody of "Just 
A Song At Twilight," which he intended 
to have played as a counter melody to 
"Beautiful Ohio." Louis Bernstein be- 

number with their tempo. In other words, 
about 55 seconds to the chorus. 

' new name, and for a big hit of un- 
usual thought, the work of a girl, whose 
last name would lead one to conclude that 
she is Russian — Miss Bernice Petkere, she 
is evidently going to continue to supply the 
firm of Irving Berlin, Inc. with melodies 
to which probably Joe Young, whom I have 
discussed so often in these articles, will 
do the lyrics. 

Whether Joe deserves credit for the 
title, or whether the young lady brought 
him the melody and the suggestion for the 
title, as so often is the case, I do not 
know. All I do know is that they have 
written a song which, after the rendition 
of it on our program of last Thursday 
brought an unusually fine number of com- 

you will hear it. We take about one min- 
ute and five seconds in the playing of the 
chorus, and it was really delightful to play 
and sing. 

/LfASQUERADE. Some of you may 
^*-* recall "Two Little Blue Little 
Eyes," which was brought to me in a 
rough, unborn state by two young col- 
lege boys, Paul Francis Webster and John 
Jacob Loeb, which we subsequently 
worked on, played, and brought to Leo 
Feist. Since that time the boys have been 
working with Rocco Vocco in a comple- 
tion of some of their brilliant ideas. 
Rocco has a great admiration for their 
talents and the boys have free rein up at 

This is one of their most ambitious ef- 
forts, and it borders more on the classic 
than it does on the naive popular type 
of tune; at least, there is nothing "corny" 
or tawdry about it. The thought is just 
a little difficult to get from the song, 

"Alt, I keet ze hand, 

Madam," (or jomething like 

that) sayi M. Vallee to Irene Sordini. 

"Ooh la! la!" says the. 

lieves that was one of the reasons for the 
popularity of "Beautiful Ohio." 

In the writing of this song he has done 
the same thing once again, and the ar- 
rangement as we are going to use it, will 
feature either trumpet or trombone play- 
ing the melody of "Just A Song At Twi- 
light" against the melody of ONE DAY 
IN MAY. The song itself is full of 
tenderness and vague unhappiness as it 
recalls a lonely heart and a lonely soul. 
It is a beautiful thing and really better 
as a ballad than as a dance number. 
Dance bands should not play it, however, 
too slowly or too fast. I am sure that 
the Lombardos will give it just the right 
treatment, as they dote on this type of 

The chorus is very much in a minor 
vein, as the lyrics go on to say "Cradle 
me where southern skies can watch me 
with a million eyes, Oh send me to sleep, 
Lullaby of the leaves." 

The middle part is unusually different, 
with a great number of notes crowded into 
one measure, and only by putting some 
of them in triplet form can they all be 
cramped in, and yet come out rhythmi- 
cally correct. And the song through the 
trees seems to be "Ooh!" At least, that 
is Joe Young's feeling of the way it 
sounds, and the pine melody which car- 
esses the shore again is "Ooh!" 

But why try to spoil the song for you? 
Listen for it on your radio; I am sure 

though one gathers it- deals with a mas- 
querade ball in the evening, with the 
lovers' moon and happiness as long as 
the ball goes on, with unhappiness after the 
midnight shadows fall. 

The boys have done exceptionally well 
with such a daring idea; in fact, I was 
agreeably surprised to find that Irene 
Bordoni was studying it in preparation 
for a future Fleischmann program at the 
same time we were rehearsing it, and con- 
sequently presented it on the Thursday we 
rehearsed it. The song puts me in mind 
of a composition by Frank W. McKee. 

Gallo photo 

"FINE work, you've got something there," exclaims B. A. Rolfc 
to young Don Becker, xvho is credited with having composed a con- 
certo for ukuclele and symphony. Don has been with WLW, Cin- 
cinnati, four years. B. A. says he is a genius with the uke, producing 
from it effects that are similar to a harp and organ. IVatch for him. 

whose Castle House Orchestra was one of 
my keenest delights in my days of high 
school adolescence. McKee wrote such 
fine compositions as "Cecile," "Esmeral- 
da," and many of the fine compositions 
by which Vernon and Irene Gastle danced 
their way to fame. 

The lyrics by Webster are fine and un- 
fold the story, though not too clearly. 
The song would make an excellent waltz 
for a juggling act, which is one of the 
tests for a composition from the stand- 
point of long life. It is exceedingly 
rangey, and I had much ado to handle it 
vocally. What with the hitting of high 
F sharps and Gs, it was necessary that 
the old vocal chords exert themselves un- 
usually. It is the type of composition 
that grows on one, and the few who did 
not seem to care for it and were frank 
to tell me so, will probably like it as 
they hear it more and more on radio pro- 

I understand that Wayne King has a 
fine arrangement and it is a great job. 
I am happy to see Webster and Loeb 

continuing on in their song-writing am- 
bitions. This song will do them no harm, 
of that they can be sure. 

Ji/TY SILENT LOVE. Larry Spier, 
IVJ. at the helm of Famous Music, 
who is one of the keenest psychologists 
in the profession, had a brain-storm which 
resulted ultimately in a strain of "Jazz 
Nocturne" of Dana Suesse, being titled 
and written up as a ballad by Edward 
Heyman. Comparable to this would be 
the taking of the theme of the "Rhap- 
sody in Blue," and giving it a title and 
lyrics and converting it into a song. Most 
numbers of the Rhapsody and "Jazz Noc- 
turne" type are a mere maze of technical 
dynamics, arpeggios, chromatic scales, and 
so forth, all beautiful enough but not 
really intrinsically heart-reaching; only 
when the theme itself is arrived at does 
the musical observer come to earth and 
rest and find something that intrigues and 
holds the interest. 

The loveliest part of her "Jazz Noc- 
turne" is this particular strain or theme. 

which has now become "MY SILENT 
LOVE." Heyman has done his usual 
highbrow type of lyric, only in this case 
he did not work with his usual teammate, 
Johnny Green. Still he has written with 
the same finesse and class quality which 
distinguished his songs in "Here Goes the 
Bride," and "Body and Soul." But it 
really is the melody itself that will count 
in this song — lovely, beautiful, different. 
I doubt if it will attain the heights of 
even mediocre popularity, as Mr. and 
Miss Mass Public rarely "go for" this 
exceedingly lovely type of composition. 
However, I feel impelled to include it in 
this month's list, as you will probably 
hear considerable of it over your loud 


vJ" From Europe, England to be exact, 
(in fact, one of the composers was a pupil 
of mine on the saxophone when I was 
playing there in 1924-25) comes a new 
composition with an outstanding title, if 
nothing else— GOT A DATE WITH AN 
ANGEL. These are the songs that de- 
light the heart of the orchestra leader, 
because if nothing else, he is assured of 
attracting attention from the title itself. 
This is where the average amateur song- 
writer falls down; in getting a new and 
novel twist, either lyrical or melodic. 
This song, to my humble way of think- 
ing, is not unusually outstanding, though 
refreshingly different. It is a composition 
that will make exceedingly fine dance 

The title, of course, conveys the whole 
story — that the lucky boy has at last 
found the lucky girl, and has a date with 
her. The story is told in a clean and 
different way, with the word "love" not 
occurring anywhere. Quite obviously, 
with their main thought in mind, the 
lyric writers had a fairly easy job once 
the idea had been arrived at. 

The English Victor record is rather 
good, though played exceedingly fast. 
We are doing the composition this Thurs- 
day for the first time, though other New 
York bands have been playing it for sev- 
eral weeks, and when we do it we will 
probably treat it at the 50 second per 
chorus speed, thereby giving it its best 
chance for expression. 

/S I IN LOVE? I IS. When a col- 
ored man starts writing with a white 
man, something is bound to happen as a 
result of the racial intermixture, and I 
can think of no two better writers to 
work together in this fashion than J. Rus- 
sell Robinson and Mercer Cooke. 

Robinson has been playing piano for 
years, was one of the early pianists to 
record with Rudy Wiedoeft, and his rec- 
ords with my saxophone idol were a de- 
light. Of late, Russell has been doing 
more composing and accompanying of 
various acts, training them for their stage 
appearances, than anything else. Marion 
Harris, when she sings in America will 
have no one else. His "Singing the 

Blues," "Palestina," and "Margy," es- 
pecially "Singing the Blues," has given 
Marion one of her greatest mediums of 
expression. Now that she is in Europe, 
Russell is associated with the firm of 
DeSylva, Brown & Henderson, and seems 
to be writing exclusively for them with 
Mercer Cooke, a young colored boy whom 
I have known for several years, and with 
whom I fought the battle for true author- 
ship of "I Love You, Sweetheart of all 
My Dreams;" Mercer teaches French at 
Howard University in Washington; he is 
a graduate of Amherst, and the son of 
Will Marion Cooke, one of the greatest 
negro song-writers and show directors. 
"Stop the Sun, Stop the Moon" was one 
of the best things these two boys have 
done together, and although not a popular 
seller it is an outstanding type of song. 
They are diverting from the beaten field 
if nothing else; whether their wayward 
attempts are profitable or not, at least the 
boys are attempting to give us something 

In this case Mercer has seized upon the 
idea of deliberate illiteracy, even more 
than the usual "I Ain't Got Nobody," and 
"Mama Don't Wan't No Peanuts and no 
Rice;" But more than double negatives, 
all sorts of irregular uses of verbs and 
pronouns is the predominating tone of 
this particular song. From the title itself 
one may judge what the rest of the song 
will be. Given a clever lyric, Russell 
Robinson has written an unusually good 
melody. In fact, the song haunted me for 
several days after we first played it. 

Our rendition of it must have been 
one of the first on the air, because Rus- 
sell played it for me when it was still 
very nebulous in his mind, on a morning 
he came up with Nick Kenny and Stella 
Unger to play, what both of the latter 
hoped would be, the Hoover Medal Pros- 
perity song. 

This song should grace the piano of any 
lover of the ivories, as it the type of song 
that little evening gatherings will have 
much fun in singing. I only hope that 
most pianos now dust-covered are oc- 
casionally opened for festive gatherings, 
although I guess the radio, going from 
morning until late at night, has almost 
effectively silenced the ten million pianos 
which are known to be in the homes of 
American music lovers. 

We play IS I IN LOVE? I IS giving 
about a minute to the chorus, and as I 
said before, DeSylva Brown & Hender- 
son are its publishers. 

Turk & Ahlert again! Not satisfied with 
having written one of the outstanding hits 
of the season, "When The Blue Of The 
Night Meets The Gold Of The Day," 
thereby giving Mr. Bing Crosby his most 
effective theme song, these two boys are 
trying to follow up the success of their 
waltz "Why Dance" with another, also 
leaving it with the same music publish- 

ers, the publishers, in fact, of their 
greatest hit, "I'll Get By." 

The demonstration of this song, and 
several others, took place up in the Berlin 
demonstration rooms, where the radio 
plugs of the air are inveigled into hearing 
the latest offerings of the firm. Among 
those present was none other than Irving 
Berlin himself, with Max Winslow, the 
man who helped to pilot him to his fame 
and riches, Georgie Joy, Dave Dreyer, 
who demonstrates the songs so ably at 
the piano, and little Bennie Bloom. 

Bennie, to my way of thinking, is the 
finest secretary Irving Berlin will ever 
have; besides being publicity man, legal 
adviser and financial adviser, he is an 
aide-de-camp par excellence. There is 
no one who knows the finest eating places 
of New York City as does Bennie Bloom, 
and because he has shown me the two 
finest eating places in New York City, 
Mannie's and Leonie's. He is one of the 
finest and best liked boys in the music 
publishing business, and I am always 
happy when Bennie tells me he has an 
unusual song. 

EVER AND EVER? is an unusually good 
waltz, a little difficult to sing and a little 
trying on the voice, but a lovely thing 
to listen to, and a beautiful thing to play, 
and I am hoping that 
it becomes one of 

the best songs in the catalogue of Irving 
Berlin, Inc. 

FOU'RE THE ONE. Hurrah for the 
6/8 numbers, scarcer than hens' 
teeth, and harder to find than the pro- 
verbial needle in the haystack. It re- 
mains for Buddy Fields and Gerald 
Marks, the two Detroit boys whose "All 
Of Me" was one of the best tunes of the 
last season, to give DeSylva, Brown & 
Henderson one of the loveliest and spright- 
liest of 6/8 songs heard in a long time. 

I was rather surprised to find a lot of 
people humming it the day after we 
broadcast it from Pittsburgh, when Sophie 
Tucker Was our guest artist, and upon 
inquiry I found, strangely enough, that 
it really was the result of our broadcast 
of it. I had no idea that people really 
learned a song so quickly. Mrs. Bolger, 
the wife of Ray Bolger, our dancing 
comedian, was frank to tell me that our 
one rendition of it had set her humming 
and whistling the tune everywhere she 
went. That's enough for me; the song 
has affected me the same way, and I only 
hope, for Gerald Mark's sake, as well as 
Buddy Fields', that it keeps on haunting 
people until they purchase copies, because 
that's what songs are written for, and un- 
less the song-writers are given some mone- 
tary inspiration for writing, 
we, who want to play their 
songs, will find it increas- 
ingly difficult to get 
good material. 

Reeva Reyes 
of NBC and 
"Hot Cha". 





By Ruth Witson 

RUSSIA today is one large factory 
on a Five Year Plan ("five years' 
work and then maybe we'll have 
**a good time!"), full of serious 
people getting mixed up with the ma- 
chinery. Russia yesterday, was a glamor- 
ous country, with the most brilliant 
society in Europe. A society famous for 
its beautiful women. A society whose 
backbone was made of handsome, dis- 
tinguished men who entertained lavishly, 
danced gaily and kept the eyes of lovely 
ladies bright and smiling. And then sud- 
denly, it all ended. The revolution was 
on and there was no place in Russia for 
the "whites". 

Two among the most conspicuous mem- 
bers of this marked society were Adia 
Kuznetzoff, head of the theatrical and 
motion picture enterprises in Russia, and 
Zinaida Nicolina, exquisite, younger 
daughter of the Judge of the Supreme 
Court of Tiflis. Although these two did 
not know one another in Russia, and al- 
though neither of them had ever appeared 
as a professional entertainer, a strange 
fate brought them together in America 
where they have been everywhere — singing 
Russian ballads and gypsy songs in vaude- 
ville, in the opera, in the theatre, in their 
little cafe, the Kretchma, and on the 

When the revolution broke out, Kuz- 
netzoff escaped from Russia with a band 
of wandering gypsies who discovered that 
this nobleman whom they had befriended 
had a magnificent basso voice. Such a 
very deep voice, in fact, that they sent 
him out as a one-man gypsy band. He 
traveled through Turkey, Armenia, and 
Greece with the gypsies and in Constan- 
tinople, sang before a gathering of the 
ambassadors of the entire world. Kuz- 
netzoff was such a sensation that it gave 
him the idea to become a professional 
singer. It was then for the first time 
that he thought of leaving the land that 
he loved so well, for an unknown country 
— America. 

The thought was almost coincident with 
the fact, for in a short time, Kuznetzoff 
arrived in America, with high hope in his 

Zinaida Nicolina, 
Russian beauty who 
escaped her devas- 
tated home in Tiflis, 
to find success and 
romance in America. 









heart and seven and a half dollars in 
his pocket. Then came months of suffer- 
ing and hard experiences. He even had 
to do dishwashing to keep from starving. 
For although he could speak French, Ger- 
man, Greek, Russian and Armenian, he 
found it practically impossible to make 
himself understood by an American. How- 
ever, he finally got to Broadway and a 
booking agent who sent him on tour in 
vaudeville. After touring the United 
States and Mexico in vaudeville, after ap- 
pearing' as a chorus boy in the Ziegfeld 
show, "Louis XIV", after many strange 
experiences alone, he met Zinaida Nico 
lina and she was his luck. 

Since they have been appearing 
together, a vaudeville engagement 
meant the Palace Theatre in New 
York (the leading vaudeville house 
of the world), their stage work 
has included the Philadelphia Civic 
Opera Company, they have en- 
tertained in the homes of the 
elite — Charles Schwab, Conde 
Nast, William Randolph Hearst — 
they have sung at the swankiest 
night clubs to gatherings of the 
haute monde. They have appeared 
as guest artists on the General 
Motors program, the Gillette hour 
and the Hoffman hour and regu- 
larly on their own programs over 
WOR and WEAF. Nicolina herself, 
gained nationwide popularity on the radio 
as "La Palina". 

When Nicolina came to this country, 
she was not unknown to the musical 
world. She had escaped from Russia into 
Turkey. There, friends of her father and 
ot the Czar, brought her to the palace of 
the Sultana Rafia, daughter of the Sultan 
of Turkey, where she was welcomed as a 
guest. The Sulta*na grew to love the 
charming Nicolina and kept her at the 
palace for nine months, where Nicolina 
lived like a true princess. At an im- 
promptu entertainment, Michael Tolstoy, 
son of the great Russian writer, heard 
Nicolina singing a little gypsy tune. He 
was so impressed with the beauty of her 
voice, that he suggested she come to 
Paris where he arranged a series of con- 
certs for her, Although Nicolina had 
studied at the conservatory in Russia, 
aside from the trained quality of her 
voice, the spirit and feeling that she put 
into her music, made her the toast of the 
Parisian world of music. She entertained 
at many private parties for distinguished 
people. Millerand, president of the French 
Republic recognized her talents. Am- 
bassador Myron Herrick acclaimed her 
as a great artist. Alfonso, then King" of 
Spain, and Emanuel, King of Portugal, 
personally congratulated her on the beauty 
of her voice. 

It was at one of these parties that she 
met Balieff, the great Russian producer. 
Someone sitting near Balieff asked him 
why he smiled the moment he had heard 
Nicolina sing. He answered, "She is the 
singing bird that will make my next 
American 'Chauve Souris' a success." 

Although at the time, she wasn't aware 
of it, the funny little Balieff, had with 
those words settled Nicolina's future life. 

Adia Kuznetzoff, aristocrat, who 
fled from Russia in guise of gypsy. 

In a short time^ she sailed for America 
with the "Chauve Souris" and stayed with 
the company for a year. After that it 

was hard times for her, too. The spoiled 
daughter of devoted parents, admired and 
humored by the crowned heads of Europe, 
it was difficult for Nicolina to keep heart, 
sitting on her trunks in some little Ameri- 
can town, not knowing where her next 
meal would be. Now that all such ex- 
periences are over forever. Nicolina re- 
calls her first years in America as exciting, 
romantic ones. 


_>F COURSE, once she 
had become the partner of Adia Kuznet- 
zoff, things were simpler. And Nicolina 
could smile again without trying* 
Since she has been with Kuz- 
netzoff, life has taken on new col- 
or. Everywhere, she meets people 
she knew in Russia, and other 
parts of Europe. Not long ago, 
she met Yascha Bunchuk, director 
of the Capitol Theatre, New York, 
and recognized him as one of the 
entertainers she had met at the 
palace of the Turkish Sultan. 

Everyone who sees Kuznetzoff 
and Nicolina perform, whether in 
the studios of the National Broad- 
casting Company or at the Kret- 
chma, immediately gets into the 
spirit of Russians and their color- 
ful ways. 

For Kuznetzoff is six feet two 
inches tall, weighs two hundred 
pounds and is as impressive as he 
looks. It is not unusual to hear — 
"Kuznetzoff is coming, now every- 
thing will be great." When he en- 
ters a room with his great stride, his 
brown eyes wide open and sparkling 
and a broad expanse of shining white 
teeth transformed into a radiant 
smile, everyone begins to bristle and 
the party is on. 

He takes up his guitar, his body 
swaying, and walking up and down, 
or just standing quietly, he moves into his 
song. And then a great hush settles down 
on the place and Kuznetzoff has trans- 
formed his audience into a band of gyp- 
sies, sitting by a large fire in the black 
forest, singing love songs at the moon. 
He is a dispenser of white magic. He 
gets into the hearts of all his listeners and 
does not let them go until he has taken 
them through wild places, under balconies 
of lovely ladies, into the grand ballrooms 
of old Russia, and back again to a little 
inn, where simple folk dance and are gay 
to the old tunes that Russia has bred these 
many centuries. 

And Nicolina is with him. Exotic and 
beautiful. Tall and slim, straight and 
lovely. Her copper red hair and viva- 
cious face are a joy to everyone. To- 
gether these two now sing to all America. 



T_JERES my vote for the finals in the 
-*--*- Beauty Contest. None of my other 
votes won but I am just as earnestly hoping 
this one will. To my knowledge the Radio 
Digest staff is one of the most courteous and 
kindly patient magazine staffs it has been 
my privilege of corresponding with. No 
matter how difficult the task of bestowing 
information they are first in graciously doing 
so. The issue for April had some very fine 
articles — in fact they demand praise. The 
article on and by Leo Reisman was one of 
the most timely music expositions consider- 
ing the rather onesided stand taken at the 
Music Convention in Cleveland. It rather 
puffed my vanity to find a real musician 
voicing my thoughts. Both the article on 
Paul Dumont and the one of George Olsen 
were treats. Frank Parker, Art Jarrett, 
Irvin Cobb and Stoopnagle'and Budd — well, 
can we ever find the words of appreciation? 
I can just bet I wasn't the only one who 
sat right down and tried guessing who all 
those band leaders were. Of course I got a 
small score but it was lots of fun. I've heard 
a great many of them but have never seen 
their pictures so was quite handicapped. I'd 
suggest you run a feature such as this often. 
All I can hope is the longest most prosperous 
of magazine lives to Radio Digest. — Miss 
Betty Jamieson, 635 Stibbs Street, Wooster, 


A PLEA for better laughs. A radio 
announcer with a natural, hearty 
laugh is a scarce article. It can't be 
faked on a radio. Among the yelps, 
cackles, whinnys, squeals, snorts and 
snuffles the announcers denote mirth, 
a genuine laugh would be enjoyable. 
I have known, as who hasn't, people 
who could infect a gathering with 
mirth, not by wit, but just by the 
genuine joyousness of their cachin- 
nations. What a pity there is not an 
announcer to incite the nation to 
mirth by sheer contagious mirth. 
Prizes are given for clear, crisp enun- 
ciation. Possessors of terse English are 
too self-contained to be sponsors of 
mirth. Some primeval, undignified 
soul should be located so we can laugh 
with him. Why not hold a laugh con- 
test instead of a beauty or enuncia- 
tion contest. A Hee-Haw tourna- 
ment.— William H. Eldridge, 1709 
Third Avenue, Hibbing, Minn. 


I READ Radio Digest every month 
and think it is just right. When I 
was a shut-in for several months I 
sure did appreciate the Radio Digest 
and my radio. I listened to the news 
flashes from Bridgeport, Conn., by 
Rocky Clark. Could you show his 
picture in this column, most everyone 
is talking good about him. — Miss 
Helen Phelps, Stamford Conn. 


T THOROUGHLY enjoy Radio Digest, 
J- particularly the VOL. pages. It is a 
great magazine and right up to the minute. 
Therefore I should appreciate it if you would 
spread the news that I am organizing what 
to my ' knowledge is the first fan club in 
honor of Buddy Rogers since he has become 
an orchestra leader. We are anxious to 
make the club a big success and will cordially 
welcome all who wish to join. Anyone who 
is interested may write me at the above ad- 
dress. Many thanks for your cooperation — 
and long live Radio Digest. — Miss Jacqueline 
Lee, 53 Park Boulevard, Malverne, N. V. 

Voice of the 


"V7"OUR magazine is sure O.K. with me. I 
-*- especially like your pictures of orches- 
tras. Let's have a lot of facts about Mildred 
Bailey, who is in my opinion one of the 
sweetest girl singers in all radio land, and 
Don Novis, the fellow who always gets 
three or four encores at the Cocoanut Grove 
in Los Angeles every night. If you should 
ask me what I thought was the best program 
on the air, I would say the Lucky Strike 
Hour. Peppy music and plenty of it is my 
motto. Here's to more jazz from Cab Cal- 
loway and Gus Arnheim. I remain an en- 
thusiastic Radio Digest fan. — John Lucas, 
1411 East 8th Street, Olympia, Wash. 


TT[7"E enjoy Radio Digest because it brings 

* * interesting information concerning 

those whose voices we hear and love over 

'Away with pore paralyzing preparations! Save your 
hands with our Princess Potato Oil." 

the air. I hope Dean Gleason Archer 
will continue his broadcasts. I would like to 
get more information about those on the 
program conducted by "Cheerio" — to a cer- 
tain group of people "Jim Baggs" might call 
hysterical housewives, this is a cheery mes- 
sage that brightens many a dark day. I 
would like to see a picture of that sweet 
voiced tenor "Pat Kelly" printed in brown, 
in the May issue. — Mrs. R. H. Scoot, Voni- 
tee, Va. 


THIS is my first letter to you. I am going 
to tell some of the programs that I like, 
and my favorite artists. I have a craze for 
organ music. My favorite organists are 

Jesse Crawford, Ann Leaf, Irma Glenn and 
Fred Feibel. I always listen to them when- 
ever I can. Guy Lombardo, Jack Denny, 
Ben Bernie and Vincent Lopez have the best 
dance orchestras on the air. Let's hear a 
little more about each one of these wonder- 
ful fellows. Your article about Guy Lom- 
bardo was grand. I also like Bing Crosby 
and Arthur Jarrett. Let's have a story 
about him in an early issue. A story about 
Jesse Crawford or any of the other organists 
I mentioned would be greatly appreciated. 
The only things I know about Fred Feibel 
are, he is a good organist, only a young fel- 
low, and that he arises every morning at 4:30 
so as to get to the studio on time. Please 
let's have something about him. — Arthur 
Zimmerman, 320 East Third Street, Fred- 
erick, Md. 


YESTERDAY I purchased my 
third copy of Radio Digest and I 
want to tell you how much I enjoy 
this magazine. I know things about 
the artists and performers now that 
I did not know before. Of all the 
articles, I think I like the VOL page 
best. It is interesting to me to know 
what other people think of the per- 
formers and your magazine. What 
most of the public wants in a maga- 
zine is variety and that's what this one 
has. Please keep it that way. Why 
can't you do more justice to people 
like Julia Saunderson, Frank Crummit, 
the Stebbens Boys, Jane in Easy Aces, 
Amos 'n' Andy, Mary and Bob, Bud 
and Stoopnagle and Lawrence Tibbet ? 
I also want to tell you how much I 
enjoyed "Letters to the Artist", "The 
Mounted Police," "Silhouettes." How 
about an article by Mr. Hill who 
gave an interesting talk on dogs and 
interviewed the Englishman over the 
Columbia network? — Miss Janie Piei, 
4826 Mercier Street, Kansas City, Mo. 


T THINK that story of Vincent 
•*■ Lopez was very good but too short, 
you see I am a very great admirer 
of Mr. Lopez, in fact not only myself 
but also my friends. I do hope that 
Radio Digest prints a story of Mr. 
Vincent Lopez real soon again. The 
best orchestras on the air are Guy 
Lombardo's, Vincent Lopez', and Paul 
Whiteman's. We'd also like to see a 
picture of Hugo Mariani, NBC conductor, 
and a picture of Ted Jewett, announcer for 
"Woman's Radio Review" an NBC presenta- 
tion. — Miss Mary E. Dosztan, 2219 East 
29th Street, Yorain, Ohio. 


ALTHOUGH a comparatively new reader 
■**■ of Radio Digest I should like to join 
the VOL, and should very much like to 
second the Philadelphia listener's opinion 
about Smith Ballew — he surely has a won- 
derful voice and a grand orchestra. My 
great regret is that he isn't broadcasting any 
more. Please print his picture and lots of 
news items about him as I'm sure there are 
heaps of Ballew fans who would enjoy reading 



all about their favorite. Radio Digest is the 
Best Ever! — Miss Agnes Adams, Boston, 



WAS very much disappointed to be de- 
nied the pleasure of hearing Nellie 
Revell last Wednesday night, and trust it 
will not occur very often. Look forward 
eagerly to that intensely interesting broad- 
cast of the best programs on the air, and am 
sure all who listen agree with me. Please 
give "Nellie'' a free hand and the glad hand. 
— Joseph Johnson, 414 Fifty-first Street, 
Brooklyn, N. Y. 


EACH new issue of your splendid 
Magazine is better than each pre- 
ceding one. Wish we could have a 
write up of Jessica Dragonette and 
Pat Barnes. Trouble with the Beauty 
Contest lies in the fact that there are 
so many truly beautiful just as they 
are pictured — if only color were added 
it might be a bit easier to choose be- 
cause the color of the hair and eyes 
have much to add to or detract from 
mere features or contour. There are 
two lovely faces in the last issue. 
You'll laugh when I tell you; Mr. 
Stead and I just couldn't off hand 
decide so we became children again 
and tried the "Enie, menie, mina mo" 
system with the result that Miss Lee 
won out. But we wish every lovely 
girl might be "it".— Mrs. C. F. Stead, 
Loveland, Ohio. 

LONDON HAS 73,186 

I HAD never read your magazine 
until the February issue but pur- 
chased same on account of an article 
on Guy Lombardo. I am a native 
of the "obscure village of London, 
Ontario". I knew of the Lombardos, 
since a child and Guy went to school 
with my brother and I am proud as 
all Londoners are of the Royal Cana- 
dians and the Lombardo boys. I take 
great exception to the reference in 
your article to London as an obscure 
Canadian Village, I imagine the Lom- 
bardo boys would resent that about 
their home town if they have their 
loyalty still with them and I imagine "I* « 

their name Royal Canadians should basso 

prove that. The population of Lon- 
don Ontario is 73,186 and was created 
a city in the year 18S6. Please give us a 
break and remember even New York had to 
have a start. — Mrs. M. W. Ambrose, Saint 
John, New Brunswick, Ontario, Canada. 


TUST recently I have become a reader of 
" Radio Digest and this is how it happened. 
I am English and we have come out here 
to live ; we came via New York, which gave 
me one of the biggest thrills I've ever had 
because I loved New York and anything 
American. There is something about Radio 
Digest which I can only describe as "fin- 
ished"; it has an elusive quality which places 
it far and above all others of its kind. I 

was very much interested in "Broadcasting 
from the Editor's Chair". At present, I 
gather there is a lot of hot air going up over 
the government taking over radio like Eng- 
land and all European Countries. Perhaps 
this will interest you. We had a wireless 
(radio to you) in the early days when the 
British Broadcasting Co. was a private con- 
cern. The programs were really good. Real 
music, classical and jazz, clever debates, be- 
tween our leading scientists, artists, play- 
wrights, etc., good critics, talks worth lis- 
tening to, real comedy. I could go on for- 
ever. And then the goverment took it over. 
The result? — duller and more uninteresting 


our pleasure to present Mine. Kroakin de Troat, 
profundo, -who sings now 'Asleep in the Deep'." 

programs. Very rarely indeed was anything 
worth listening to. It got from bad to worse 
until we sold our wireless. So, America 
keep your broadcasting as it is and keep 
your advertising. It's a brain wave ! Thank 
you for allowing me to air my opinions and 
I shall be proud to know it appeared in 
"Radio Digest". — Miss Mary E. Kitchen, 
Hillcrest Cottage, Tribeway, Paget West, 


THERE is such a variety of entertainment 
and instruction by radio that only a 
chronic pessimist could find fault with it. 
Everyone is entitled to his own opinion con- 
cerning programs and personalities ; he may 


choose whatever he likes and exclude the 
rest. Since nominations for radio headliners 
are still open, I am submitting a list of my 

Announcers: Milton J. Cross, the most 
charming radio personality 
Alwyn Bach, with the most beautifully ca- 
denced voice, but too formal and aloof 
Orchestras: Light, Harry Horlick's Gypsies 
String Ensemble, N. B. C. Slumber Hour 
Symphony, N. B. C. Symphonic Hour 
Orchestra Coductors: Symphony, Walter 
String Ensemble, Ludwig Laurier 
Operatic Singers: Soprano, Anna Case 
Tenor, Giovanni Martinelli 
Baritone, John Charles Thomas 
Regular Radio Singers: Soprano, Gladys 
Mezzo-soprano, Elizabeth Lennox 
Contralto, Mary Hopple 
Tenors: James Melton, sweetest and most 

appealing voice 
Frederick Hufsmith, appealing voice, ver- 
satile repertory 
Milton J. Cross, sonorous voice 
Barytones: Theodore Webb, Walter Pres- 
Bassos: Harry Donaghy, James 

Male Duo: Frank Parker and El- 
liott Shaw. 
Mixed Quartet: Enna Jettick Mel- 
Male Quartets: Heel Hugger Har- 
monies, Revelers, Cavaliers. 
Comedian: Raymond Knight. 
Ensembles: Through the Opera Glass. 

Davey Tree Program. 
Organist: Archer Gibson. 
Educational: National Advisory 
Council on Radio in Education 

Lectures, Saturday evening, 8:45, 
Chicago NBC Announcer: Ted 

Chicago NBC Singer: Reinhold 
Schmidt.— Miss Edwina Long, 2708 
Osage Street, St. Louis, Missouri. 


ALL those interested in an active 
- booster program honoring Will 
Osborne please communicate with the 
undersigned. All inquiries will be 
welcomed and answered. — Betty 
Jamieson, 635 Stibbs Street, Wooster, 


T WANT to join some of the mem- 
*• bers of our VOL club and say that 
Radio Digest is the finest magazine 
of its kind on the market except for 
one thing, it only comes around once 
instead of twice a month. There is 
one instrument which is very seldom 
mentioned to any extent in our Digest 
and that is the mightiest of all musi- 
cal instruments, the Organ. Why not de- 
vote a chapter each issue to Jesse Craw- 
ford, Ann Leaf, Ralph Emerson of WLS 
and others. Let's have some pictures of 
organ consoles and organists and some news 
about what's going on in this branch of 
entertainment. All theatres of any size or 
importance feature organs. The ballroom 
in the auditorium in Atlantic City features 
the largest theatrical organ in the world. 
Organs are also finding their regular places 
on sponsored programs. Let's hear from 
other readers about the organ. 

I hope we have the pleasure of seeing 
organs featured in our beloved magazine 
every issue. — Clifford Martin, Box 292, 
Beach Haven, N. J. 


What is WRONG with Radio Drama? 

By Craig Rice 

(Concluding an article which was begun 
by Miss Rice in the May Radio Digest) 

THE difference of two or three 
seconds in' the length of a pause 
— the most minute inflection of a 
voice — an almost indiscernible 
change in tempo — and a scene is either 
made effective or ruined. The slightest 
let-down on the part of one of the actors 
— and a scene is lost. Yet not infre- 
quently the radio play is produced almost 

Mind you, this is not true of all radio 
drama productions. Many are thoroughly 
rehearsed and properly directed. But — 
not long ago I talked with the writer, di- 
rector and chief actor of a series of de- 
tective dramas being presented over a 
metropolitan station, and asked if I might 
attend one of his rehearsals. Rehearsals? 
I met a blank stare. The members of the 
cast usually met in the lobby before the 
presentation and read over the script. 
That is, they did if there was time. 

And yet we wonder what is wrong with 
radio drama! 

We wonder — when the general run of 
radio plays are poorly written by inex- 
perienced writers, and given a haphazard, 
unmethodical production. When the aver- 
age high-school class play is an infinitely 
better entertainment than the garden 
variety of radio play, we wonder why in- 
telligent listeners state that they do not 
listen to radio dramas. 

Please, dear radio writer and producer, 
remember that the public suffers, but it 
will not suffer long. The public that de- 
mands radio drama is going to get very 
very tired of third rate productions. And 
where, dear radio writer and producer, 
are we going to be then? 

You are perfectly right in saying that 
radio drama is in its experimental stage. 
But it has been in that stage for nearly 
ten years — the first radio play having been 
produced in 1922. Surely we ought to be 
getting somewhere by now. The stage 
took thousands of years to reach its pres- 
ent form, but we have the experience of 
the stage to draw from. The motion pic- 
tures took years to reach any kind of 
artistic achievement, but we have their 
early mistakes to steer by. 

If there has ever been a literary field 
that offered the fascinating possibilities Of 
radio drama, I don't know what it is. 
The limitations of any art are not its 
handicaps; they are the mould into which 
the liquid idea is poured and allowed to 
harden. The limitations can be more, 
they can be the tools with which the 
creator works. Consider — the novelist 
can spend pages and chapters explaining 
the character of his protagonist; the radio 
writer does the same in the turning of 

What is wrong with the drama in this picture? You answer. 
It's Elfie Hits and Ned Wever of the CBS dramatic »taff. 

half-a-dozen sentences. The playwright 
can use all the visual effects to heighten 
the effectiveness of some piece of action; 
the radio writer must not only dramatize 
sound alone, but must create the action 
itself in sound. 

The radio writer can turn to plays that 
depend entirely upon plot and action, but 
these are either detective stories that are 
more puzzles than plays, or frank melo- 
dramas whose guiding motto is "seven 
minutes and a scream." And even the 
best of the detective plays and melo- 
dramas depend largely upon the creation 
of character. 

So the task that confronts the radio 
playwright is no small one. And there 
is still hope for radio drama. Writers are 
beginning to realize the tremendous possi- 

bilities in experimentation, and the field 
of syndication is beginning to promise 
them adequate financial returns. The 
smaller stations, who can afford to experi- 
ment, are creating their own methods of 
production, and groups of players are 
springing up all over the country, devel- 
oping their oWn successful technic. 

From these writers who are going into 
the field to learn, not to teach, and from 
the young writers who are experimenting 
at small stations, will come the great 
radio playwrights of the future. It is 
safe to predict that from the experimental 
groups at the small stations will come the 
great radio actors and directors of the 
future. And through their efforts, the 
time is coming when the skeptics who 
come to criticize will remain to hear. 


great French chef and 
writer of cooking books, 
once said that "an animal 
swallows its food, a man eats 
it, but only a man of intellect 
knows how to dine", and that 
no man under the age of forty 
can be dignified with the title 
of gourmet. He also said that 
no true gourmet could be late 
for dinner. That's one thing 
a gourmet and a hungry man 
have in common. 
* * * 

I remember once when Berry 
Wall, Dean of the American 
Epicureans, invited me to dine 
with him in Paris. I took 
Brillat-Savarin's advice and ar- 
rived on time at Mr. Wall's 
chateau. Wall is an interesting 
man. He is just slipping onto 
the wrong side of seventy but 
does not look a meal older than 
fifty, and is just as good a 
dancing man as ever; his waist 
is slim, his legs are slender and 
his instep still shows an arch. 
That is pretty good for a man 
of seventy. Being naturally 
curious as to why's and where- 
for's, I asked him how he did 

"Good plain food, my boy," 
said Berry, "and good plain 
cooking. Every meal should 
be simple. Start with a con- 
somme with a good body. A 
plain roast with one fresh vege- 
table, a salad, and wind up 
with tea or coffee." When he 
told me that I laughed to my- 
self, for I happened to know 
that Berry has swallowed 
enough fancy food in his life 
to give the gout to the stand- 
ing armies of the world. 
However, don't get me wrong, 
member Berry Wall in the old Rector's, 
he was an extremely intelligent eater. He 
never gorged himself at the table, nor 
did he ever sit down to a twelve-course 
banquet. He was the most finicky eater 
I ever saw and always insisted on mix- 
ing his own salads. 

* * * 

WELL, speaking of Berry Wall and 
Brillat-Savarin puts me on the 
track of the many restaurants to be 
found in Pans. A great many new din- 
ing places have sprung up since I worked 
in the kitchens of the Cafe de Paris, 
more than twenty-five years ago. I guess 
there must be 100,000 restaurants in 
Paris. Everybody has his favorite dining 
place, and I have mine. I won't men- 
tion which it is, for if I told you, you 
would tell somebody else and my little 


As I re- 



Creorge Ivector 

pet canary would becorrfe a round robin. 
If you find a good place to eat, keep it 
quiet, for though publicity is great for 
a motion-picture house it spoils a good 
restaurant, especially a good European 
restaurant, for over there the proprietor 
is usually the chef, with the pride of 
achievement in each bowl of soup served ; 
however, once mass production comes in 
the restaurant door, individual, loving 
care goes out the kitchen window. 
* - * * 

Just in passing, here is some good ad- 
vice to the tourist going to Paris for a 
"rest". 1-eave your tuxedo or your 

evening gown at home. You 
will then be unable to dine at 
the high class places. They 
are too formal and you will 
have a better time in mufti, 
and also a cheaper one. I do 
not have to tell you that it is a 
lot of fun scouting around to 
find yourself an obscure din- 
ing place on a quaint side 

Of course, there is always a 
thrill in the big names — Ciro's, 
the Pre-Catelan, the Chateau 
de Madrid — all of them are at 
the height of their popularity 
just now. As I think over the 
famous cafes in Paris, I think 
of many which used to be but 
are no more — the Cafe Anglais, 
which stood on the Boulevard 
des Italiens, and was the Paris 
office of King Edward, when he 
was Prince of Wales — Maison 
Doree, which has fallen before 
the march of commerce — Big- 
non's establishment — Tortoni's 
and the King George — all are 
buried in that past which we 
all look back on with fondness. 
* * * 

One restaurant which has 
survived through the years is 
the Cafe de Paris, where I was 
scullion in the Garde Manger, 
or cold-meat room, more than 
twenty-five years ago. Mourier, 
who made it famous, married a 
daughter of the illustrious 
Foyot, feeder of diplomats 
and statesmen. The minute 
Mourier took over the cafe it 
became renowned all over 
Europe for its fine food. He 
catered to the French people 
exclusively, but the cuisine be- 
came so well known and ad- 
vertised that the Americans, 
English, Russians and South Americans 
rushed in to share the good things. The 
Cafe de Paris is not far from the opera 
house, on the Avenue de l'Opera, and 
graduates of that kitchen are directing 
famous restaurants all over the world. 

Probably the favorite dish with the 
early American explorers of Paris and 
the Cafe de Paris was Lobster Thermidor. 
Some of the specialties of the French 
cuisine which are always interesting are, 
as I said, Lobster Thermidor, the spec- 
ialty of the Cafe de Paris; Poularde a 
l'Archiduc, which is chicken saute, — 
Volaileesous la Cendre, a specialty of 
Ciro's and a sort of chicken pot-pie. 
And, of course, we can't overlook Crepes 

• * * * 

But then, Berry Wall was right when 
(Continued on page 48) 


Radio Digest 


A Complete and Profitable 

Coverage of the 
Greater Cincinnati Market 

Being a basic NBC station of the red 
network, the quality of WSAI programs 
is above the average. Greater Cincin- 

nati regards WSAI as an excellent radio 
entertainer and as a reliable guide to bet- 
ter buying habits. 


Quaker Oats 


Radio Household Institute 


Betty Crocker 



Chase & Sanborn 


Bayer Aspirin 

Knox Gelatine 

Schaefer Pen 


Firestone Tires 


Atlantic & Pacific Tea Co 

General Electric 

General Motors 


Blackstone Cigar 

Moore Paint 

True Story Magazine 

General Mills 

Texas Oil Co. 

The above companies are leaders in their 
fields. They have chosen WSAI as their 
advertising medium to reach the Greater 
Cincinnati market. To merit the confi- 

Lucky Strike Cigarettes 
Stanco Co. 
Halsey-Stuart Co. 
Goodyear Tires 
Fleischmann Yeast 
Chevrolet Motors 
G. Washington Coffee 
Cities Service 
Clicquot Club 
Valspar Varnish 

dence of these leading advertisers is a 
powerful indication of the popularity and 
effectiveness of WSAI. Write us for 
complete details. 


Powel Oosley. Jr.. Prettidpnt 





Kansas City 

Where They Prove That Good 
Things Come in Pairs! 

MAKE it two, will you. Oscar? 
. . . You know, good things al- 
ways come in pairs ... I 
s'pose that's why these here new Song- 
Smiths teamed up . . . You know, they— 
huh? . . . Didn't I ever tell you about 
them? . . .. 'S funny . . . Tho't I did 
... Well, to make a long story, I met 
them first in February. 1932 . . . They 
were working at KMBC in Kansas City 
. . . You know— that's the big CBS out- 
let for that territory . . . And they— huh ? 

. . What do they do? . . . Man, oh 
man — they sing harmony — And how they 
sing it! . . . Two people that contrive 
somehow to sound almost like an orches- 
tra . . . Why say — they sing the most 
modern stuff you've ever heard . . . 
Sure, they make their own arrangements 

. . Play their own piano . . . Do 
everything . . . Singing harmony 4s not 
only a business with them ... It's a 
pleasure . . . They dig up more trick 
tempos and rhythms and effects than four 
people could ... At first they sound 
just like two men singing . . . But they 
aren't ... 

Who are they? . . . Well, I just told 
you . . . The SongSmiths . . . That's 
their real name too ... I mean, their 
name is Smith . . They coined their 
name themselves . . . Since found eut 
that others use it too . . . So they spell 
it "SongSmiths" . . . with a capital S. 
Married three vears . . . And more Jn 

love than ever . . . Huh? . . . First 
names — Woody and Glad . . . Which 
stand for Woodruff and Gladys . . . 
But don't call 'em that . . . Wazzat? 
. . . Well. Glad is a contralto . . . Any- 
way, her voice is one of the deepest I've 
ever heard . . . And Wood's a baritone. 
And when those two low voices mix you 
oughta hear the blend! . . . And their' 
solos are plenty different . . . And they 
do a lot of this singing-to-each-other 
stuff . . . You know . . . Make love to 
music, as it were . . . But when they 
really go modern . . . That's where they 
shine . . . Those arrangements of theirs 

The Kasper Sisters 

have the whole Mid-West talking . . . 

What? . . .' Oh. they both grew up in 
small towns . . . Soon graduated to the 
city . . . Woody went to college . . . 
Wound up at music school . . . Where 
he met Glad . . . She was going to take 
lessons on singing popular music . . . 
heh. heh . . . Oh. they came from Min- 
neapolis . . . Went to the MacPhail 
School of Music up there . . . Yeah, 
they studied classics, but popular won 
them over . . . They went there two 
years . . . Got married . . . Finally 
wound up in Kansas City . . . That was 
in 1929 . . . Been there ever since . . . 
Oh sure, they still study . . . with "The 
Cranstons" of Kansas City, the ones 
who trained Marion Talley ... I guess 
they both have music born right in 'em. 

After coming to Kansas City they 
worked up popularity locally . . . Then 
put on CBS to all stations West of K. C. 
. . . Woody hates to wear shoes . . . 
Glad loves to buy clothes ... He like? 
spinach, carrots, ice cream, chili . . . 

Glad Smith 

Glad hates all of 'em . . . She has a 
weakness for pork chops ... He eats 
out when she serves 'em . . . Are to- 
gether constantly . . . Except when he's 
announcing . . . Incidentally, he's reck- 
oned some punkins at announcing . . . 
Works on KMBC locally, and utters for 
a few CBS programs on the western net- 
work . . . When they work a script act, 
they write their own continuity . . . 
They wish they could sleep till noon 
every day . . . Like to sing at night . . . 
Hate it in the morning . . . Neither 
ever eats breakfast . . . Never drink 
coffee or tea . . . Woody says she has 
a poisonous fondness for vinegar . . . 
The only place he likes it is in a hair 
rinse . . . Both work every known kind 
of puzzle printed. Especially if there's 
a prize . . . Never won a thing yet . . . 
Have fond hopes . . . Have the usual 
ambition ... To make a big success 
singing harmony . . . Both dislike sing- 
ing in public . . . Are inveterate hand- 
holders at the theater . . . Both sing in 
prominent church choir . . . With Glad 
a soloist there . . . They'd rather sing 
together on the radio than eat . . . If 
you like swell modern harmony . . . 
Tune in The SongSmiths . . . Just a 
couple in the great army of "Smiths" . . . 
Good things always come in pairs . . . 
Make it two. will vou. Oscar? . . . 


HE Kasper sisters have 
an early start to a very promising career. 
They made their radio debut in 1930. 
Meanwhile they have been heard from 
several stations, and are at present en- 
joying popular demand for personal ap- 
pearances. Vou just know they are easy 
to look at! 

Station Parade 

Stars of the Air 

Out of the West 


KOA Director 

By Morris Hepler 

busy preparing for grand opera and has 
temporarily relinquished her interest in 
radio. Many listeners will remember 
Hazel Hayes, as beauteous a lass as 
ever came out of the Sunflower State to 
triumph in Denver. 

As for Norman Price he had tenored 
himself to the top in Denver — one of 

Norman Price, tenor 

FREEMAN H. TALBOT, that keen 
judge of musical ability who 
guides the destinies of KOA, the 
National Broadcasting Company 
key station way out in Denver, boasts 
that considering the population the foot- 
hills towns in Colorado have given the 
radio world more talent than any other 
place in the world. 

Taking into account only musical tal- 
ent, and omitting the before-radio suc- 
cesses, where does KOA fit into that 
picture, he was asked. And was he 
stumped? Not Mr. Talbot ! 

"Among the musicians who first aired 
their talents over KOA," explained Mr. 
Talbot, "there was one who became a 
first place winner in a national Atwater 
Kent audition and two who won third 
places; three joined the internationally 
famous Seth Parker troupe; one became 
the highest paid singer with the British 
Broadcasting Corporation; two were first 
place winners in the Sesquicentennial Ex- 
position contests; two won contests con- 
ducted by the National Federated Music 
Clubs; five won scholarships repeatedly 
with the Juilliard Foundation, and three 
are now staff members in the San Fran- 
cisco studios of the National Broadcast- 
ing Company." 

Out on the Pacific Coast are three 
National Broadcasting Company staff so- 
loists who first saw the light of radio 
through KOA. They are Everett E. Fos- 
ter, baritone; Mary Wood, soprano, and 
Forrest Fishel, tenor. 

Another KOA singer is now reaping 
laurels on the Coast. Just now she is 

KOA's Solitaire Cowboys and 
— in radio opera. NBC took 
him on immediately. 

The Quarles sisters — Alice, 
Marguerite and Virginia — 
piano, violin, and 'cello — 
started a habit of winning 
contests when they won Juil- 
liard Foundation fellowships 
while they were still in their 
teens. They have held four 
Juilliard fellowships besides a 
scholarship for a year's study 
at the Conservatoire Ameri- 
caine in Fontainbleau, France. 

Other stars of the air — 
many others — started with 
KOA. Freeman H. Talbot's 
boast seems justified. 

Upper left: The Quarle sisters 

— Alice, pianist; Marguerite, 

violinist; Virginia, 'cellist. 

Center: Freeman H. Talbot, 
manager, KOA 

Hazel Hayes, popular soprano, another 
star who started on KOA 

Station Parade 
WIBA ^Madison, Wise. WGAR Cleveland 

EVERY community has its favorite 
sports announcer, but up Wisconsin 
way listeners will tell you they get more 
capable and more interesting sports broad- 
casts through their own regional station 
than they get over the networks. 

The reason is Bill Walker — William E. 
officially — manager of radio station WIBA 
at Madison, Wisconsin. His specialties 
are football and basketball. 

Bill Walker had sole charge of building 
station WISJ which went on the air for 
the first time September 8, 1930. One 
of his first problems was to get a sports 
announcer to compete with a university 
coach who had developed a considerable 
following on a competing station over a 
period of years. The final decision was 
that Bill assumed the assignment himself. 

What kind of a job did he do? Well, 
on June 13, 1931, stations WIBA and 
WISJ at Madison, were consolidated, and 
Bill Walker has handled all the sports 
assignments ever since, to the gratification 
of the station's thousands of rabid sports 

Bill still serves as president of the 
W. E. Walker Company, an advertising 
, agency; he is business manager of station 
WIBA which has made a wonderful show- 
ing under his direction; for many years 
he served as vice president of Madison's 
largest financial institution, and he is the 
advertising counselor for some score of 
business and financial enterprises. But 
sports announcing continues to be his 
principal hobby. 

Interest in football and basketball has 

increased by leaps and bounds in Wiscon- 

• sin during the past few years. But it isn't 

reflected in the gate receipts. And Bill is 

"being blamed, for hundreds admit pub- 

i licly that they would rather hear him 

I broadcast a game than see it. 

TWEET — tweet — tweet — 
from the loud speaker to 
to the surprise of listeners came 
the shrill clear notes of a bird, 
a long sweet trill — as the un- 
seen canary ran up and down 
the scales. There followed a 
sweetly plaintive melody, the 
"Song of India" clearly whis- 
tled—Ted DeTurk, Ohio's Own 
Whistler is on the air. 

Many have tried to whistle 
over the air. The sensitive 
'Mikes' pick up all poor shad- 
ings and distorted harmony 
making whistling one of the 
hardest forms of music to pro- 
duce. Never in Ted's whis- 
tling do you find these faults 
registering. Sometimes a string 
ensemble makes a backgound 
for the solo, again an organ, a 
piano, or an orchestra. 

Ohio's Own Whistler was 
born in a little log cabin, which 
may account for his ability to 
imitate birds so well, on the 
banks of the big Scioto River 
near Marion. He learned to whistle as a 
boy, in the way all small boys do — seeing 
who could make the longest and loudest 

His whistling solos have been heard 
from the North, East, South and West 
on the ether waves, from Jacksonville, 
Florida, Atlanta, Ga., Denver, Col., De- 
troit, Mich., Cincinnati, Ohio, Iowa and 
other places his canary throat has thrilled 
listeners. Ted is also well known as a 
singer and accomplished pianist. At pres- 
ent he is heard daily from WGAR in 
Cleveland, Ohio. 



MISS ANICE IVES, radio's guide to 
home lovers, staged an old fash- 
ioned pie eating contest on her weekly 
WIP-WFAN Home Making hour. After 
the blackberries had been cleared away 
and the time clocks checked, it was found 
that Marie Lambert had devoured her pie 
in eighteen seconds. Marie is 
shown with a silver cup pre- 
sented by the Gimbel Store. 
Jean and Sue Dalion, second 
and third prize winners, are also 
pictured. Despite the smile of 
victory after the battle was 
over, the girls admitted they 
had enough pie. 

Mim Alice Ca*h smiled her way to 
victory at KFRC 

Um-m-m! What a contest t They're full of pie. 

KFRC ■** San Francisco 

MISS ALICE CASH had her taste of 
fame and liked it! She was sud- 
denly catapulted into the whirl of the 
public spotlight and all its attendant 
glamour, as the result of being selected 
winner of the KFRC Happy Go Lucky 
Hour's "Smiles Contest". 

Conducted by Al Pearce, the contest 
sought to uncover "the Pacific Coast's 
prettiest smile." Pearce asked listeners 
of the Don Lee network to send in their 
photograph. More than 15,000 were re- 
ceived from all parts of the coast and as 
far east as Salt Lake City. When the 
judges had dug themselves from under 
this deluge they came up with Miss Cash's 
photograph unanimously agreed upon. 




KYW local outlet — Sundays, 
2 :00-2 :30 CST. 

In the first place, somebody thought 
up a swell gag when they allowed Wayne 
King to use his own theme song on this 
program! It's against my principles to 
believe the idea originated in the agency 
— so I'm giving full credit either to 
King himself, or to the N.B.C. Any- 
way, it's a great trick — because every- 
body and his family knows Wayne 
King's music, and most of them like it. 
So naturally when his theme song comes 
on, instead of some trumped up theme 
to fit the product, it catches the atten- 
tion. From that point on, the rest is 
easy. Nicely flowing tunes played as 
only the King group can play them, lead 
quite subtly into the commercial credit 
given by Lady Esther. Incidentally, I 
might say here, that the lines they put 
into milady's mouth are not so good— 
quite trite and just glorified advertising. 
But somehow you listen to it — and not 
altogether because you know Wayne will 
be back again after it's over. You listen 
primarily because Lady Esther has the 
kind of voice you wish all air-minded 
women had. 

—KYW— Sundays, 3:00-3:15 
Chi. time. 

Remember what a swell gal I said Jane 
Froman is? The Iodent People got hep 
before she slipped through their fingers, 
and now she and Roy Shields with the 
baton, do their stuff via the tooth paste 
route. The only trouble is, Jane doesn't 
sing quite enough. A little thumbnail 
drama of historical highlights is thrown 
in for good measure — but it remains for 
Jane and the orchestra to walk off to the 
blare of trumpets. That girl does every- 
thing well — she even stammers delight- 
fully. Iodent didn't miss when they 
picked their program, and although it 
probably won't ever set Lake Michigan 
on fire, yet it's easy to listen to. And 
in this day and age that's something! 

ER"— Columbia— WGN— Sun- 
days, 7 :30 Chi. time. 
This program is not intended for stu- 
pid people, and it proves that the old 
idea of the child mind in an adult body 
is passe, if you get what I mean. It 
shows that people do like to be treated 
as though they had average intelligence 
and not six year old mentalities. This 
is a glorified travelogue with modernistic 
music, eloquent descriptions, and refined 
phrases. It does not smack of "thrown- 
together." It shows that a travel pro- 
gram when handled with intelligence can 
be made beautiful and interesting at the 
Fame time. All the places you've ever 
wanted to go are pictured for you vividly 

Blue Ribbon 

WEAF— Key Station, NBC Red Network, New York. 
WJZ— Key Station, NBC Blue Network, New York, 
WABC — Key Station, Columbia Network, New York. 

Throughout the Week 

(Daily except Sunday) 

8:00 a.m.— WEAF— Gene and Glenn, Quaker Early Birds 

8:15 a.m.— WJZ— Phil Cook (Quaker Oats Company) 

7:00 p.m. — WJZ — Amos 'n' Andy (Pepsodent Company) 

7:45 p.m.— WEAF— The Goldbergs 

10:30 p.m.— WABC — Music That Satisfies (Liggett & Myers) (Wed. 

and Sat. at 10:00 p.m.) 

1 1 :00 p.m. — WJZ — Slumber Music, Ludwig Laurier 




9:45 a.m.— WABC— Old Dutch Girl (Mon., Wed. and Fri.) 

6:00 p.m.— WABC— Current Events, H. V. Kaltenborn (Mon. 


6:45 p.m. — WJZ — Lowell Thomas (Daily ex. Sat. and Sun.) 

7:00 p.m.— WABC— Myrt and Marge (Wrigley) (Daily ex. Sat. 


7:15 p.m. — WABC — Mills Brothers (Crisco Company) (Tues. 


7:30 p.m. — WJZ — The Swift Program (Swift Company) (Daily ex. 

Sat. and Sun.) 

8:15 p.m. — WABC— SinghV Sam, the Barbasol Man (Mon., Wed. 

and Fri.) 

8:30 p.m. — WABC — Kate Smith La Palina Program (Mon., Tues., 

Wed. and Thurs.) 

8:45 p.m- — WABC— Col. Stoopnagle and Budd (Mon. and Wed.) 

(Also on Dixie Network, 8:30 p.m. Tues.) 

9:00 p.m. — WEAF — Goodyear Program (Wed. and Sat.) 

10:15 p.m.— WABC— Gold Medal Fast Freight (Tues., Wed. 9:00 


10:45 p.m. — WABC — Arthur Jarrett (Mon. and Thurs.) 

10:45 p.m.— WABC— The Funny Boners (Tues. and Fri.) 

11:00 pjn. — WABC — Howard Barlow's Symphony Orch. (Daily ex. 

Sat. and Sun.) 

12:00 mid.— WABC— Guy Lombard© (Sat. and Thurs.) 


12:30 p.m.- 
4:30 p.m.- 
4:30 p.m.- 
5:30 p.m.- 
5:30 p.m.- 
6:30 p.m.- 
6:30 p.m. — 
7:45 p.m.- 
8:00 p.m.- 
8:00 p.m- 
8:30 p.m.- 
9:45 p.m.- 
10:15 p.m 
12:30 a.m. 

, — WABC — International Transatlantic Broadcast 
WEAF — Davey Hour (Davey Tree Experts Co.) 
WJZ— Sheaffer Lifetime Revue (Sheaffer Pen) 
WEAF— General Electric Circle 
WABC— Blue Coal Radio Revue 
WjZ^-"K-7"; Dramatized Secret Service Spy Stories 
WABC — Roses and Drums 

-WABC — The Sylvanians 

-WEAF — Chase & Sanborn Hour (Standard Brands* Inc.) 

-WABC — Ziegfeld Follies of the Air (Chrysler Corp.) 

-WABC — The Greyhound Traveler 

-WJZ — Making the Movies ; Ray Knight 

— WJZ — The Old Singing Master (Barbasol Co.) 
WABC — California Melodies from Los Angeles 

8:00 p.m.— WEAF- 


-Soconyland Sketches 

and with plenty of color. And if you 
have a millionaire appetite and a ten 
cent store pocketbook, the commercials 
tell you that you can still take a trip via 
Greyhound. Another contest for you fans 
— a simple one too. Give it a listen! 

daily but Saturday and Sunday, 
at 4:30 and 5:15. Local show 
over WGN, daily but Saturday 
and Sunday, at 6 :00 p.m. 
Kellogg's "Singing Lady" seems to be 












10:00 p.m 

10:00 p.m 











10:45 p.m 















10:00 p.m. 

-WEAF — Voice of Firestone 

-WJZ — Death Valley Days (Pacific Coast Borax Co.) 

-WEAF— A. and P. Gypsies 

-WABC — Pillsbury Pageant— Street Singer 

-WEAF — Parade of the States 

— WJZ— With Canada's Mounted (Canada Dry) 

— WABC — Robert Burns Panatela Program 


-WEAF — Blackstone Plantation Program 
-WEAF— True Story Hour 

-WJZ — Sisters of the Skillet (Procter & Gamble) 
-WABC — Gerardine Program ( La Gerardine, Inc.) 
-WABC — Ben Bernie's Orchestra (Blue Ribbon Malt) 
, — WJZ — McCravy Brothers, the Hearthside Singers 


11:00 p.m 

—WABC — Maxwell House Program 

-WEAF— "Big Time" (Stanco, Inc.) 

-WEAF— Halsey Stuart Program 

—WJZ — Jack Frost Melody Moments 

—WEAF — Goodyear Program 

-WJZ — O. Henry Stories; dramatic program 

-WEAF— Mobiloil Concert (Vacuum Oil Co.) 

—WEAF— Coca Cola Program 

, — WEAF — Nellie Revell: Voice of Radio Digest 


8:00 p.m. — WEAF — Fleischmann Hour (Standard Brands, Inc. 

8:15 p.m.— WJZ— Rin Tin Tin Thriller (Chappel Bros.) 

9:00 p.m. — WEAF — Big Six of the Air (Chevrolet Motor Co.) 

9:00 p.m. — WJZ — Blackstone Plantation Program 

9:30 p.m. — WJZ — Thompkins Corners (General Foods, Inc.) 

10:00 p.m. — WJZ — A. and P. Dance Gypsies 

10 :45 p.m.— WABC— Phil Spitalny's Orch., and Jay C. Flippen 

11:45 p.m.— WABC— Bing Crosby 


8:00 p.m. — WEAF — Cities Service Concert Orchestra 

8:00 p.m. — WJZ — Nestle Program (Lamont-Corliss Co.) 

8:30 p.m.— WJZ— Ivory Program— B. A. Rolfe's Orch. 

8:30 p.m.— WABC — Du Pont Program (E. I. Du Pont de Nemours) 

9:00 p.m.— WEAF — Clicquot Club Program 

9:00 p.m.— WABC— Kodak Week End Hour; Nat Shilkret's Orch., 

Thelma Kessler 

9:30 p.m.— WEAF— Pond's Program 

9:30 p.m. — WJZ — Armour Program 

10:00 p.m. — WEAF— Sampler Orchestra 

10:00 p.m. — WJZ — Whiteman's Pontiac Chieftains 


7:15 p.m. — WEAF — "Laws that Safeguard Society"; Dean Archer 

8:15 p.m. — WEAF — Civic Concerts Service Program 

9 :30 p.m.— WEAF— Club Valspar Program 

10:15 p.m— WABC — Columbia Institute of Public Affairs 

10:45 p.m. — WABC — Arthur Tracy, Street Singer 

12:00 mid.— WEAF— Buddy Rogers 

a prime favorite with the younger gen- 
eration, if you get what I mean. Any- 
way, Mr. Kellogg advertises his corn 
flakes and so forth twice daily on the 
chain, and then puts on a private Chicago 
show too, making three appearances for 

each story. Well, why not? Most of 
the shows for children either only suc- 
ceed in boring them to death or in excit- 
ing them to such an extent that it takes 
several "Johnny, come to supper" calls 
before Johnny gets himself untangled 


from a wild maze of adventure long 
enough to gobble down a meal, which 
results only in giving him either a tum- 
my ache or a night mare. The "Sing- 
ing Lady" programs are much milder in 
character — in fact they're so mild you 
can give them in large doses to the very 
small youngsters, with no ill effects. 
Bernie— CBS— local outlet WB- 
BM, Tuesdays, 8:00-8:30. 
Friends tell me I have a misplaced 
sense of humor. People who aren't so 
friendly — and incidentally not so polite 
either — say it's perverted. And friends 
whose acts have already been reviewed 
by me anyway, say I've no sense of 
humor at all. So what's a person sup- 
posed to think. Anyway, the cause for 
the controversy is that I maintain Ben 
Bernie is one of the most unfunny peo- 
ple on the air. His flow of "I hope you 
like it" isn't quite so bad; but when he 
gets off onto a tangent of persistently 
repeating dance number titles, I nearly 
run berserk — or however it is you run 
when you get kinda batty. He's got such 
a swell band that it seems a shame he 
has to laugh at his own jokes. That 
sentence doesn't seem to make sense 
somehow — but I'm listening to him right 
now, and I'm going a bit battier every 
minute. You see folks, it isn't a mat- 
ter of listening where you will, when 
you're trying to catch ALL the pro- 
grams. I'm sorry if I appear to be a 
little cynical tonight; it's a mistake, be- 
cause really I'm not such a bad per- 
son. Only it riles my Irish to have a 
person go smart-alecky on me every time 
he gets on the air. I'll have to give him 
credit though, his commercial plugs for 
the old Alma Maker (the pun is his, 
not mine) are really worthy of a Blue 
Ribbon. And I know that thousands of 
folks listen for him all the time. So that 
must make him good. I dunno — maybe 
it is kinda perverted after all! 

"JOE PALOOKA"— Columbia— 
WBBM— Tues. & Thurs., 5:45 
Chi. time. 

If imitation is the sincerest form of 
flattery, then "Padded Fists" is twice as 
good as I thought it was. Incidentally, 
since our previous review it's been sold. 
Guess I'll try writing a skit myself and 
reviewing it — then it'll sell and I'll quit 
work. But that's beside the point. Joe 
Palooka, while nicely done and ably 
played, is more or less a second "Padded 
Fists." For Joe, like Prince, wins the at- 
tention of the public through an acci- 
dental fight with another chap, outside 
the ring. And each has a disapproving 
mother. Joe Palooka, from the popu- 
lar Chicago comic strip, is ably played 
by Ted Bergman, ex-manager of a New 
York gym. I'm told several fellows who 
know their left and right hooks are con- 
nected with the skit, from Ted Husing 
who announces it, to Ham Fisher who 
draws the cartoons. So it's really swell! 




We're too busy getting you 
grocery bargains to run from 
house - to - house tuning good 
programs in on your radio set. 
However, we do this much tor 
you — we offer you a variety of 
programs — a program to suit 
your taste — and make the job 
of twisting your dial a pleasant 


Concert music; dance music; 
tenor solos; two piano novel- 
ties; gypsy songs- — tune in the 


Harry Horlick conducting. 

(Monday 8 PM EST WEAF and 
NBC network). 

(Thursday 9 PM EST WJZ and 
NBC network) 


Honest-to-goodness food in- 
formation; a male quartette; 
travel stories; anecdotes about 
famous people and the Broad- 
way of the "Say '90's" tune in 


with Colonel Soodbody; 
George Rector; Judge Gor- 
don; "The 4 singing Grocers". 

(Daily except Sunday over dual 
NBC networks— WEAF, 8:45 AM 
EST; WJZ, 9:30 AM EST) 

A & P has your kind of program 


Great Atlantic 

Tacific Co^st £choes 

By W. L. Gleeson 

recently a member of the KHJ com- 
mercial staff, has just been appointed 
Manager of KDB, the Don Lee station 
at Santa Barbara. 

Since Dick Rickard, down at KGB, 
San Diego, sponsored the Easter Egg 
Hunt in Balboa Park, involving 20,000 
eggs and 5000 school kids, the San 
Diego punsters have been enjoying a 
boom season in references to "hard-boiled 
eggs," "good eggs" and so on. 

Eddie Holden, KNX, creator of the 
lovable character of "Frank Watanabe," 
the Japanese houseboy, is a good cook. 
Eddie says he takes his hat off to no girl 
when it comes to preparing a meal in a 

Billy Evans Highlights Review is grow- 
ing better every day. With the coming 
of Spring, all the amateur talent that 
has been hibernating during the winter 
months has come to life and is trying out 
over at KELW, Burbank, California. Mr. 
Evans presents a splendid program each 
morning at 11:00 and even if these per- 
formers are new in the business, they are 
well worth listening to. Billy Evans has 
had years of experience before the mike 
and is competent to train those young- 
sters "in the way they should go." 

Hazel Warner (KFRC) has a varied 
schedule, but the one program on which 
you are certain to hear her is "Musical 
Forget-Me-Nots" each Sunday evening 
at 8 o'clock. 

"California Melodies" released over 
nationwide network of CBS from KHJ, 
presented none other than Zeppo Marx, 
of the Four Marx Brothers. Something 
very funny? Not exactly, for young 
Zeppo — he's the "straight" one, you 
know — has been discovered as possessor 
of a very nice singing voice indeed, and 
this marked his debut in the world of pop- 
ular song. A big event, in other words. 

Lou Gordon, the tenor whose melodi- 
ous tones are heard over KFI, was born 
in Russ.ia and came to America after the 
revolution. The terse accounts he gives 
of his wanderings over China and Siberia 
with the festive Bolshevik on his trail, 
are exciting as any Actionized adventure 

Telling about "The Drama and It's 
People," Lloyd S. Thompson, dramatic 
critic of The Examiner, presents an in- 
teresting and entertaining lS-minute talk 
on KYA, San Francisco, at 6:30 Tues- 
day evenings. 

Radio stars from KHJ, The Don Lee 
station, helped to enliven the day at the 
Motor Show in the Ambassador Hotel, 
Los Angeles. One of the most popular 
air features in the country was presented 
in the day's entertainment, when Ken 

Niles and his "Hallelujah Hour" appeared 
in person at the show. Included in the 
roster of stars under Niles' direction was 
Dave Marshall, popular Southland bari- 
tone; Elvia Altaian, stellar comedienne of 
the air; petite Vera Van, whose melodic 
voice has won her a place in the radio 
firmament; the craziest man on the air — 
Charlie Leland; Bobby Gross, and the 
Hallelujah orchestra directed by Ray 

San Francisco may have grabbed off 
the Druids' Convention, but Los Angeles 
supplied the music picked out of the air 
in the Bay City auditorium where the 
fraternal organization staged its initia- 
tions. The eighty-piece symphony or- 
chestra of the Hollywood Grove, of the 
Druids organization, broadcast from KHJ 
studios over the Don Lee chain, 7:45.- 
8:15 P.M. Alexis Coroshansky directed 
the orchestra in numbers rarely heard in 
the United States. 

Meredith Wilson's "Home Sweet 
Home" concerts from KFRC and Don 
Lee network 9-11 A.M. provides two 
hours of comfortable music for Sunday 
morning consumption. This program has 
been a popular one for several years. It 
requires skill to keep a two hour show 
popular — if you don't think so, ask Mere- 
dith. He knows! 

This writer listened in on the Spanish 
Gardens program over KELW from 7:00 
to 8:00 P.M. and received a pleasant 
surprise. Not being able to speak Span- 
ish, this program had always been passed 
up, but it isn't necessary to speak Span- 
ish at all to enjoy the really remarkable 
entertainment that is offered at this time. 
Appealing music that carries with it all 
the charm of old Mexico; senoritas, 
whose soft voices transport the listener 
to a land of tinkling castanets and sway- 
ing, elusive forms; dreamy, alluring, en- 
trancing, this music from the land of 
Manana. Listen to it yourself and you 
will enjoy it. 

Known as "the most distinctive pro- 
gram on the air," the KDYL, KDYK, and 
KOYL, Friday evening 8:00 to 9:00 vis* 
its with the boys at "Hank's General 
Store" in "Sears Center" provides enter- 
tainment for thousands of listeners who 
enjoy old-time music. The program 
brings in person the man who occupies 
the week's lime-light. Heard on these 
broadcasts are Mickey Walker, light 
heavyweight boxing champion of the 
world; Eugene Jackson, negro star of 
"Cimarron," "Sporting Blood," "Our 
Gang Comedies" and others; Sherman 
"Red" Clark, captain of the University 
of Utah basketball team, and Charles 
Foley, golf professional of the Salt Lake 
Bonneville Golf Club. 




Radio Dicks t 


he Largest and most 

\ear I he Center 
<>( I he Dial 


The wit anil humor of Pat 
Harrington, Wl.W tenor ami 
Master of Ceremonies* is 
eagerly listened to hy a vast 
rarlio folio win g. 

The click of castanets accompanies the 
tangos and other Spanish airs played hy 
the WUW "South Americans*" 

The famous Sidney Ten 
Kyck is known all over the 
country for his inimitable 
wit, .4s Master of Ceremonies 
for * k The Doodlesockers*" he 
shows unusual talent. 

"Highnnnn** the ** radio dog** 
is one of the most interest- 
ing and unttsnal features <»/' 


The Morin sisters add spice 
and variety to many Wl.W 

* * Ha tnona * * stan ds amtmg 
the most distinctive pianists 
in radio. Her rich voice has 
unusual tone and depth 
that carries extraordinarily 
well over the air. 

Mary Steele, XV I M "blues 
contralto** has icon the 
hearts of radio listeners 

Radio Digest 


Brilliant Array of 
Radio Artists offered by 

a Single Station 

The colorful, brilliant and unusually large staff of radio audience. The phenomenal results obtained for 

artists at WLW is unequalled by any single station. The WLW advertisers is proof of the popularity of these 

spice and delightful variety that these air entertainers radio stars and the effectiveness of "the Nation's 

inject into radio programs, plus WLW's 50.000 watts Station" as a powerful and profitable advertising 

power, have built up a vast and enthusiastic radio medium. 

These representative \\ LW programs are 
produced exclusively by WLW players and 
artists from the WLW studios, in Cincinnati. 

•'The Trial of Vivienne Ware," dramatic 
production, for the Standard Oil Companv 
of Ohio. 

•'Peanut Pietro," dialogue, for Planters 
Nut and Chocolate Company. 

"Bathed in Loveliness," music emotional, 
for Bathasweet. 

"The Dayton Thoroughbreds." light 
onera, for the Dayton Tire and Rubber 

"The Zero Hour." with narrator, for I he 
Crosley Refrigerator Division. 

"Kruschen Program," deep river orches- 
tra with fast vocal trio, for Kruschen Salts. 


"International Old Bill." rural music and 
philosophy, for International Oil Heating 

"Maxwell House Cotton Queen," min- 
strel type show boat setting, for Maxwell 
House Coffee. 

"Ivanhoe Playhouse." review type vaude- 
ville setting, for the Ivanhoe Mayonnaise 

"Jim and Walt," personality harmony duo. 
for the Alabama Georgia Syrup Company. 

"The San Felicians," minstrel type with- 
out endmen. for the San Felice Cigar Com- 

"The Flying Dutchmen." over the blue 
network, for The Crosley Radio Corpora- 

"The Crosley Follies." New \orkcr style 
review, with music and master of cere- 
monies over special network. 

"Centerville Sketches." rural dialogue, 
for Hires Root Beer. 

"Old Man Sunshine" and his "Toy 
Band," juvenile production, character, 
novelty, orchestra, for Wheatena, Peter Pan 
Fabrics and E-Z Underwear. 

"The Mail Pouch Sportsman," sports re- 
view, for Mail Pouch Tobacco Company. 

"The Afternoon Round Table.'" for 

Dryodine Food Products. 

"Tangee Musical Dreams," musical fan- 
tasy with Don Juan type master of cere- 
monies, for Tangee Lipstick. 
"Pebeco Exercises." physical ■"instruction 
with light philosophy and music, for The 
Pebeco Company. 

In the interest of its clients and as pari of its service. \\ L\V main- 
tains a group o." highly trained field men who constantly contact 
wholesale and retail outlets. These men show dealers how to use 
the power of broadcasting to tno\e goods off their shelves; instruct 
and advise them in the best ways to tie-in with advertisers' pro- 
grams; are the means of introducing and establishing advertisers' 

products in new territories. This plan was pioneered by \\ I.W and 
has been found to be the most elfeetive means of bringing home to 
the dealer the true value of air advertising. The results that have 
been obtained for WLW advertisers are phenomenal. Let us tell 
you more about WLW and its operations in our free. 72-page 
portfolio. Send for it. 


Powel Crosley, Jr., President 



NewTbrk's Supreme 

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And that's no idle 
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Not only the new- 
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1000 ROOMS 

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47<h St. West of B*way.NYC. 



BROADCASTING is growing up. 
Several stations have long since 
passed their tenth milestone and this year 
a fair number celebrate their first decade. 
WIP-WFAN, Philadelphia, joined the 
growing ranks recently. Other stations 
who to date this year had a tenth "birth- 
day", include: WWJ, Detroit; WOR, 
Newark; WMAQ, Chicago; KFI, Los 
Angeles; WGY, Schenectady; WBT, 
Charlotte, N. C; KQG, San Jose, Cal.; 

and WHAS, Louisville, Ky. 

* * * 

Summer's coming, but it doesn't seem 
as though indepen- 
dent stations will 
have much to worry 
about businesswise, 
if the announced 
new sponsored pro- 
grams mean any- 
thing. WIP-WFAN, 
Philadelphia, an- 
nounces contracts 
with Lindlahr's 
Magazine, Reefers 
No-Moth, Inc. in 
the daily home eco- 
nomic period and 
Kruschen Salts for 

Time Signals. 

* * * 

The first magnetic 
microphone in De- 
troit has been in- 
stalled at WJR. 
This "mike" has 
many advantages 
over the condenser 
type. It is not so 
easily damaged and 
it is not affected by 
temperature changes 
... A most ambi- 
tious program is be- 
ing staged at WJR 
by Frederick Stearns 
& Co. of Detroit in 
the interests of their 
product, Astring-O- 
sol. The programs 

are on the air three times v«eekly early 
in the evening. Talent includes, as a 
permanent feature, a fifteen piece orches- 
tra and a wide array of talent, and a dif- 
ferent group of artists on each program. 

* * * 

There are many prolific producers in 
radio but we believe Georgia Fifield, of 
KNX, Hollywood, Cal., has established 
some sort of a record. She has cast and 
directed more than three hundred and 
fifty radio plays and created some two 
hundred rdles in radio plays. That's a 
mark to shoot at . . . Here's another 
one from the same station: Ray Howell, 
former radio technician and now an- 

Through WGY'S short wave- station 
W2XAD in a relay from Schenectady 
to Kootwijk, Holland, to Bandoeng, 
Java to Sydney, Australia, and back to 
Schenectady, the sound of the shot fired 
by Gov. Ely was brought back to Sche- 
nectady in approximately one eighth of a 
second. At left is Kolin Hager, man- 
ager 'of WGY. 

bond Adventurer. 

nouncer at KNX, who presents an hour 
of all request music from midnight to one 
o'clock each morning, has received letters 
and telephone calls from each state in 
the Union, Canada, Mexico, Australia, 
New Zealand, Hawaii, Japan, Alaska, and 
South America . . . KNX, in order to 
stimulate listener interest in its station 
during the normally dull afternoon period 
between 3:00 and 3:30 developed a pro- 
gram that has accomplished the purpose 
beyond expectations. The program is 
billed as the Matinee Mirthmakers. It 
features an orchestra and a master of 
ceremonies and tal- 
ent varies with each 
presentation. It is 
in the nature of a 
daily surprise to the 
dial twisters. 

* * * 

As this is being 
written plans have 
been completed for 
the formal opening 
and initial programs 
by CKWO. Main 
studios are on the 
twelfth floor of the 
Guarantee Trust 
Building in Windsor, 
Ontario, and supple- 
mentary studios 
have been located 
in Detroit. The 
Transmitter house is 
in Sandwich, On- 
tario. Air plans call 
for best Canadian 
programs available 
and features of in- 
ternational interest 
through a hook-up 
with the Columbia 
Broadcasting Sys- 

* * * 

United States 
Lines are using 
WOR, Newark, to 
present the Vaga- 
Lord & Thomas & 
Logan, New York agency, acted for the 
Client . . . The Crowell Publishing Com- 
pany (Woman's Home Companion) has 
signed up for a year over WOR. The 
contract was cleared through Martin- 
Rillings-Shaw Inc., Philadelphia. "Shop- 
ping with Jean Libby" is the title of the 
program . . . The Hoffman Beverage Com- 
pany has renewed for another twenty-six 
weeks and Uncle Don Carney appears on 
a new "commercial", William S. Scull 
Company, makers of Bosco, a food drink 
... A flood of letters from listeners 
has caused Roger Bower to revive his 
Market and Halsey Street Playhouse. 


Radio Digest 








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the ttmiplcie line <>! 
KurKeous Midwest Con- 
soles, "Deluxe," irinh- 
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Holds VK2ME Two Hours 

•I heard VK2MK Australia this 
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this 8t»t Ion all over the house. Have 
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lombia, s. A., two In Argentina, one 
In indo-chlna and one In Canada, 
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10. APP1.KUAUM, 
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"I raised Honduras al 78'., on middle 
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2 IS Division St., Itellevne, Ky. 

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1815 Dolman St., St. I.ouls. Mo. 


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Dept. 76 (Est. 1920) CINCINNATI, 0. 


professionally speaking 
Drama in Radio 

Writing for the Unseen Audience 
Requires a Special Technic 

An interview with Basil Loughrane, of 
WHK, Cleveland, by Marvell Lenoir. 

DRAMA in Radio has a long long 
way to go before it reaches the 
heights of either the dramatic stage, or 
the talking screen. People have for cen- 
turies, ever since the first traveling min- 
strels in ancient times, been educated to 
see their plays. Now comes a complete 
reversal, to hear and not to see. It is 
much harder to hold an audience that can- 
not see you. Then the voices, at once the 
greatest handicap and the greatest asset. 

For years Radio has been educating lis- 
teners to deep resonant voices, soft and 
pleasing, with an evenness of trend that 
is, however pleasing to the ear, entirely 
lacking in the heights and depths of feel- 
ing necessary for good drama. The lack 
of the versatile trained talking voice is 
the chief detriment to the present com- 
plete success of radio drama. 

The usual studio dramas are played by 
the station's staff with a few exceptions. 
There are several stations which have a 
separate staff for the presentation of all 
dramatic works and these few present 
much better dramas and improved in- 
terpretation of roles than the more handi- 
capped stations can present. Please do 
not misunderstand. The staffs try hard 
and do very good work but in most cases 
they are not actors and but poorly fitted 
for the work. The announcers are pressed 
into service for all the leading male roles 
and the minute they begin to speak, their 
deep resonant voices, so pleasing for an- 
nouncing, identify them at once to the 

listener and tend to destroy the character 
they are trying to create. He is as a rule 
so well trained in speaking in the well 
modulated not too expressive voice from a 
very close position to the microphone, that 
to speak well away 
from the "mike" 
and give a disserta- 
tion in full voice is 
very hard for him. 
Sometimes he for- 
gets and speaks soft- 
ly when away from 
the "mike" and loud- 
ly close to it, which 
causes his voice to 
fade and then to 
blast. The greatest 
disadvantage is the 
spoiling of his care- 
fully cultivated an- 
nouncing voice. The 
dramatic voice es- 
pecially trained for 
radio presentation is 
the proper solution. 
The use of the other 

Basil Loughrane 

JLL things come to him who 
waits, providing he works hard 
enough to achieve them while he 
is waiting. So with Basil Lough- 
rani, who as a brown-eyed, curly- 
headed youngster with a big am- 
bition started working very hard 
in the University of Toronto to be- 
come the world's leading physician. 
Somehow that physician got side 
tract, and gave us instead Basil 
the very versatile leading man, who 
has deserted the legitimate theater 
for the past two years, and Jtas be- 
come one of Cleveland's most in- 
teresting announcers, radio play- 
write, and director in chief of 
WHK's dramatic staff. 

delineation of character, as those played 
by Ethel Barrymore, Margaret Anglin 
and Ruth Cornell. 

Dramatic producers in the radio field 
have their minds set on the fact that a 
program must move slowly to give the 
listener full chance to grasp the events. 
They must until radio actors with radio 
drama voices are evolved. 

The theater itself has seven media of 
expression. Action — the players move to 
and fro, enter and leave, and gesture ef- 
fectively to convey meaning. Line — 
which is interpreted in beauty of form and 
line in background and grouping. Color — 
of course needs no explaining. Word and 
Voice go together, yet they are two sepa- 
rate media, and 
last, but most im- 
portant, comes hu- 
man contact — that 
intangible something 
that projects per- 
sonality across the 
barrier of the foot- 
lights, and makes 
you settle in your 
seat and draw a 
breath of enjoyable 
anticipation at the 
first appearance on 
the stage. 

Here comes poor 
little Radio and of 
all of these media 
what has it? Voice 
and words alone. In 
a very few isolated 
cases it has pub- 

type voices, while 

less expensive, is like trying to kill two 

birds with one stone. 

Then there are the still lighter voices 
to consider — the ladies. Here too the 
deeper contralto voice has long been fav- 
ored'. Basil feels the contralto voice is 
excellently adapted to character women 
but not to leads. Even on the stage very, 
very few leading women with contralto 
voices have achieved successes. Most of 
these women play roles demanding mature 

licity, for the aver- 
age radio drama the publicity is limited 
to a line in small type on the daily pro- 
gram and even the actors are not accorded 
the distinction of being other than a voice. 
One of the least things radio drama could 
do is present the cast and describe the 
settings to be used and not leave the en- 
tire burden with the actor who is already 
struggling against a larger unaccustomed 
handicap. The action must be suggested, 
in that the settings are entirely missing. 



Vice-Pres. and Gen. Mgr. 

Patronize a Quality Station 
with a Quantity Audience 

to any particular Cleveland station? No, he tunes in on pro- 
grams that entertain, educate and give him the news of the. day. 
In Greater Cleveland radio listeners habitually tune in on 
WGAR, The Friendly Station of Cleveland. The only station 
in Northern Ohio to carry Amos V Andy and other famous 
features of the N. B. C. Blue Net Work. 

W G A K 



Radio Digest 



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A Little Jumping Geat "* 
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Taxicah is an abbreviation of taximeter-cab- 
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automatically registering the fare. The name 
cabriolet is the diminutive of the French cab- 
riole, meaning "a leap" like that of a goat, 
and was applied to this type of carriage 
because of its light, bounding motion. 
Cabriole came from the Italian capriola 
meaning "a somersault," from Latin caper 
"a he-goat," capra "a she-goat." There are 
thousands of such stories about the origins 
of English words in 




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Parker On Bowery 

(Continued from page 9) 

chestra which consists of three pieces, his 
saw, a violin and a guitar. It is hard, he 
admits to Lord, to keep so many men 
together, especially now that spring is 

Chatham Square has its "Harry 
Lauder." He is Sunny Scotty and sings 
ditties which were popular in his native 
heath when he was a boy. He still sings 
well but his Bowery audience often in- 
terrupts with comments regarding Scotty's 
red nose — which easily betrays his failing. 

The talk of the evening usually is de- 
livered by Dan O'Brien, King of the 
Hoboes. He just closed the New York 
Hobo College, of which he is dean, for 
the season — mostly because, he admits, 
the students felt the urge of wandering 

O'Brien uses the language of the peda- 
gogue in speaking, but at all times appears 
in the uniform of the hobo. 

"The Bowery has talent," O'Brien said. 
"These men are ambitious, they are 
proud. We have great singers, great 
musicians, and great dramatists among us. 
What we needed was the chance Lord is 
giving us." 

Because of the depression, O'Brien ex- 
plained a new course in the art of pan- 
handling had been introduced at the Hobo 

The theme song of the Bowery broad- 
cast was written by Jack Sellers, a Bowery 
poet and melody maker, who, in better 
days, served his country in the United 
States Navy. 

• "What would you like now boys?" 
Lord asked as he drew his party to a 

"Ice cream and onions," was the reply 
as if but one giant voice had answered, 
sure sign, according to Lord, that the 
party "went over." 

June Wedding Bells 

(Continued from page 13) 

"Now who do you suppose would listen 
to reason over there?" 

"I think that's where all the trouble 
lies — too much reason. Everybody starts 
to figure out the. expense of setting up a 
home and then they get scared and talk 
about the weather — or something." 

"Well, what's the answer?" 

"Oh, please, this is so sudden.*' 

"What — what I mean suppose 
this attitude keeps going on and on 
forever, what is to become of the 
human race?" 

"Well, you know what they say; 
prosperity is just around the cor- 
ner. Maybe that means a little cot- 
tage or cozy apartment — " 

Dolly Dearborn in Chicago had 
nothing better to report than to re- 
peat the story about Em. There 

seemed no prospect of a June wedding of 
any sort in the Columbia studios there, 
she said. 

If other industries and other institu- 
tions are as delinquent as the radio, sec- 
tion of our country this looks like the 
worst June in a generation so far as wed- 
dings are concerned. 

1 he jrfnswer Is 


(Continued from page 33) 

he told me that French cuisine was a 
life study. No nation takes cooking so 
seriously as the French, who are artists 
in this line. Many friends of mine re- 
turned from France with difficult French 
recipes and some of the wives had a lot 
of fun trying them. They always hoped 
for the best — or knew what to do until 
the doctor came. As a simple, easily 
prepared and delicious French meal, let 
met suggest the following: — 

Escalopes de Veau Risotto 

Salad of Spring Greens 

Rolls and Butter 
Compote of Strawberries 
and Pineapple 
Cheese Crackers Coffee 

Escalopes de Veau a la Rector 
(Veal CutlMs) 
Season veal cutlets with salt and pa- 
prika and brown them on both sides in 
butter. Sprinkle the Cutlets with finely 
chopped chives and parsley and cook 
them slowly until they are tender. Place 
on each cutlet a thin slice of boiled ham 
which has been browned in butter, and 
on top of the ham place a spoonful of 
chopped pimiento. Arrange the cutlets 
on a hot platter. Put a good-sized piece 
of butter in the pan in which the veal 
was cooked, and stir until it is lightly 
browned. Pour the hot butter over the 
cutlets. If desired, a little cooking wine 
may be added to cutlets after they have 
been browned. 

(Risotto recipe will be 
furnished on request.) 


Col. L. Q. 
"Fearless" Stoopna- 
gle beards a liaa. 

Would you please tell me if Station 
KGMB in Hawaii belongs to the Columbia 
Broadcasting System? — Arthur P. Pfost, 94- 
44— 121st Street, Richmond Hill, N. Y. 

ANS. Radio Station KGMB is owned 
and operated by the Honolulu Broadcasting 
Company, Ltd., Honolulu, Hawaii. 

What has become of our good announcer 
Phillip Carlin? We never hear his voice 
over NBC. Has he gone to some other sta- 
tion?— Mrs. J. M. N., Mrs. C. I. C, Tipton, 

ANS. No, good old Phil Carlin is still 
carrying on as an NBC executive. We 
haven't heard him much since Palmolive 
faded out. 

Can you tell me over what broadcasting 
station and at what time I can hear Ethel 
Merman? — Jack Lanski, 34 South 7th Street, 
Easton, Pa. 

ANS. Ethel Merman was heard once over 
CBS, but we do not know where she is at 

Please answer the following questions 
about Pat Barnes, Bill Hay, and Everett 
Mitchell. Are they married? Tall or short, 
blonde or brunette? What are their hob- 
bies ? — Age ? — Betty Jeanne, Minneapolis, 

ANS. Pat Barnes is tall, slim, dark and 
about 37. He is married and his hobby is 
golf. Bill Hay is S ft. 11 ins. and medium 
dark; like Pat Barnes is also married and 
favors golf. Everett Mitchell is a brunette, 
5 ft. 10^ ins., and is 33. He is also mar- 
ried; his hobby is making amateur movies. 

Is Wayne King divorced or separated — 
that is, has he ever been married? What 
college did he graduate from? Is it not true 
that he lived part of his boyhood in Savanna, 
Illinois? — Helen Marie. 

ANS. Wayne King was born in Savanna, 
Illinois; he is 31 years old. Spent part of his 
boyhood in Texas. Wayne did not graduate 
from college. Before taking up music as a 
profession he was a certified public account- 
ant. He plays the saxophone. Recently 
married Dorothy Penelope Jones, screen 

Can you tell me the name of the Bayer 
Aspirin signature? — M. M. M., 180SS Park- 
side Avenue, Detroit, Mich. 

ANS. The signature to the Bayer Aspirin 
program is just known as the "Bayer 
Aspirin Theme Song." 

Do the Connecticut Yankees travel back 
and forth weekly for the Fleishmann hour or 
are they connected with the band traveling 
with the Scandals, if not are they playing 
anywhere in New York or disbanded ? How 
will the broadcasts be managed when the 
show goes west, will they go too? — Thelma 
Todd, Atlantic City, N. J. • 

ANS. The Connecticut Yankees are with 
the Scandals. They travel with the Scandals 
wherever they go and they will be on the 
air every Thursday wherever they are. They 
will be back in New York by July. 

Can you tell me the name of the girl in 
charge of the "Rudy Vallee" Round Table 
Club at Hanover, Pa.? — Viola Hendrickson, 
832 Main St., Simpson, Pa. 

ANS. The girl in charge of the Rudy 
Vallee Round Table Club, is Miss Frances 
Poist, 24 East Middle Street, Hanover, Pa. 

Please tell me how old the Lombardo 
Brothers are and whether they are married. 
How tall are Carmen and Guy Lombardo? 
— Lois Carter, Fargo, N. D. 

ANS. The Lombardo Brothers are all 
under six feet, dark and married. Guy is 29, 
Carmen about 25 and Victor about 21. 


WMtti. to qet irvto 


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2000 14th Street, N. W., Washington, D. C. 

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City State 


Hal O'Halloran as Steamboat Bill 

Let WLS help increase your sales. WLS offers you the 
service of a 50,000 watt station, operating on a cleared 
channel. But after all it's personality that counts. The 
WLS program department knows its audience, knows 
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ers. These are the factors which have built for WLS a 
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— sailor girls 
and sailor boys! 

Every day except Sunday, Steamboat Bill steams into the 
WLS studios for a friendly visit with thousands of boys 
and girls. It's an informal chat, interspersed with bits of 
advice on good habits for health, safety, and cheerful- 
ness, with here and there a joke from the many sent in by 
his little friends. 

The program is designed to secure box tops from the 
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box tops in nineteen and one-half months; 37, 1 94 for the 
last three and one-half months of 1 930; 82,493 for 1 93 1 , 
and 58,596 for the first four months of 1 932. Still going 
strong and getting RESULTS! 

Advertising on WLS builds actual cash sales. The spon- 
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the product that it is now handled by 5,000 dealers in the 


same area. 

This is just one example of how WLS advertising pays. It 
pays because it brings RESULTS! 

Steamboat Bill, with the toy balloons, toy steamboat, toy train, and 
Trixy Doll, which he sends to the boys and girls who send in box tops. 


BURRIDGE D. BUTLER, . President 
GLENN SNYDER, . . Manager 
50,000 WATTS . 870 KILOCYCLES 



15 Q em 

/* I SAi 

yjaze/ yohnson 


d/JLer <LsXLask 

} ean i\emoves 

Burns and Allen Ray Perkins Countess Albani 

• They forgot about the world outside 
. . . about such things as unpaid bills . . . next 
month's rent . . . even the trouble about 
Europe! All they remembered was that it was 
Spring again. All he knew was that She was a 
Very Beautiful Lady, and she, that He was 
a Very Gallant Gentleman. And so they danced 

. . . dreamily. . . happily. . . the while that 
able strummer of banjos, Harry Reser, and 
his talented Eskimos made music for them. 
Spring . . . banjos . . . Beautiful Lady. . . Gallant 
Gentleman... a floor divinely built for dancing 
feet . . . the tinkle of ice in glasses . . . Spring 
. . . ah, Spring! 


Madison Avenue at 45th Street, N.Y. 

Edward Clinton Fogg • Managing Director 

Radio Digest 

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MG -S 032 ' @ttB 

How you can 

get into 


\S 2 

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Famous Radio 

^^^ "DROADCASTtNG offers re- 

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Printed in U. S. A 

Raymond Bill, Editor 

Harold P. Brown, 

Managing Editor 

Charles R. Tighe, Nellie Revell, 

Associate Editor Associate Editor 

Henry J. Wright, Advisory Editor 


Hazel fohnson of KFYR, Bismarck, 
N. D., winner of Radio Digest 


Beautiful singer on Ziegfeld program 
tells how she banished stage fright. 

ROUND TOWNERS. Quartet of 
male vocalists sings familiar ballads. 

"I'LL SHOW THEM." That's what 
Bob Simmons said to old Missouri. 

PERKINSCRIBIA. Fair correspond- 
ents write inspired letters to Perkins. 


Troupers split, and one goes to KFI. 
She writes ship log for her radio pal. 

view goes askew with Burns and 

TELLERS WHO. Another double 
page of announcers for your album. 

BROKEN VOWS. John Barleycorn 
not always legal angle for damages. 

TUNEFUL TOPICS. New songs are 
reviewed by our most popular critic. 

EDITORIAL. It's time to revamp 
program production. Listeners vote. 

TITLE." Says Countess Olga Albani. 

EATATORIALS. Famous restaura- 
teur tells of adventures in Germany. 

POLICE! Noted war correspondent 
puts crime on radio spot. 

STATION PARADE. Gossip from 
the local stations across the continent. 


Daily log of programs for summer. 

Charles Sheldon 

(The Story) 5 

Hilda Cole 6 

Marshal Taylor 8 

Nellie Revell 10 

Edward T. Ingle 12 

Helene Handin 14 

Leonard S. Smith 16 

Nellie Revell 18 

Gleason L. Archer 20 

Rudy Vallee 24 

Ray Bill 28 

Wanda Seifried 29 

George Rector 30 

D. Thomas Curtin 31 



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Radio Digest. /volume XXIX, No. 2. Summer, 1932. Published monthly ten months of the year and bi-monthly In July 
and August, By Radio Digest Publishing Corporation, 42 Lexington Ave., New York, N. Y. Subscription rates yearly, 
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Radio Dioti r 

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Lifetime Employment fervice to alt 'Graduates 


City Slate. 

SMITH BALLEW, that tall, amiable Texan whom you see 
pictured above, rained into Radioland again May 27th to 
the huge delight of a large and appreciative audience. You 
heard him from the Pavillion Royal, a swanky Long Island 
resort — a long, long way from the Alamo Plaza in San Antonio, 
but not half so romantic. Texas without question has more 
tall men per capita than any other state- in the Union. Smith 
Ballew is no exception. While he never could have been classed 
as a sensation his acceptance everywhere has been enthusiastic. 
He was one of the first to rebel against the jangle of jungle 
jazz. His doctrine never was to give each man in his orchestra 
an instrument and tell him to make a star of himself. Rather 
he has preached that the orchestra must play in unison as one 
man. Smith's fans praise his conservatism, his choice of the 
soft and sweet in melody and rhythm. His voice as a singer 
came to him unexpectedly. But the record makers say it has 
become one of the best sellers. That Jupiter Pluvius should 
have picked Smith Ballew's opening night for a deluge was most 
unkind for no doubt there were many of the young orchestra 
leader's personal friends who were thereby prevented from ex- 

Twists and Turns 

With Radio People and Programs 

tending their congratulations and good wishes. Incidentally you 
can turn your dial to your Red network station and get Smith 
Ballew every Friday night at 11 o'clock, EDST. 

P\ THOMAS CURTIN seems to be coming into his own 
-LA according to reports as we go to press. Radio Digest 
readers will remember his adventure stories published herein, 
and also the thrillers dramatized over a late Sunday night net- 
work. Mr. Curtin has been analyzing the files of the New York 
police department, just as he analyzed incidents and resources 
behind the German lines as secret correspondent for the North- 
cliffe newspapers. Knowing his natural ardor and keen sense 
of the dramatic we feel free to predict that the stories 
of life culled from the police files will be tense and thrilling 
when he presents them as one of the twenty-minute features 
of the Lucky Strike program. Curtin has the uncanny sense of 
precision to put his finger on the instant of action in any situa- 
tion and give it life with lines of speech and sound effects. He 
may become known as the first great radio dramatist. 

IN THE Aircaster column of the "New York Evening Jour- 
nal" (May 24) we are told of an incident which happened 
in one of the great broadcasting company studios which illus- 
trates how thinly woven are the threads of fate these perilous 
times. The Aircaster writes as follows: 

"I'm sorry that, because of a promise, I can't give you the 
name of the orchestra leader at WEAF who saved the life of a 
young composer and arranger yesterday. The young man was 
actually starving, was without a job, without prospects, and his 
wife and kids were on the point of being evicted. As a last 
resort, he gathered up a script that a big shot conductor had 
promised to buy months ago, and was trying to peddle it in the 
studios. He failed to impress anybody with it, although it turned 
out to be the work of a genius. Someone overheard him calling 
his wife. She had to be brought to a neighbor's phone. He told 
her that he was headed for the Brooklyn Bridge, and bade her 

"The man who overheard the excited conversation collared the 
unfortunate fellow, discovered his troubles, looked at his script, 
and immediately gave him a job with two weeks' salary in ad- 
vance. The band leader had been looking for such an arranger 
for weeks." 

HAVE you noticed the improved trend in the production 
of radio drama? Is it that we are getting better scripts 
or better technique in the art of broadcasting drama? To the 
mind of your commentator there was a fine etching in the 
NBC presentation of The Flood Is Rising, described as "A True 
Story by Geno Ohlischlaeger, translated by Kurt Jadassohn." 
The story opens with a prologue wherein the listener pictures 
himself on a sightseeing bus in Naples. The scene is near the 
harbor with sounds to give that impression. The guide intones 
his ritual of what is to be seen round about. By this trick 
of placement the listener finds himself naturally in the scene 
without forcing the imagination. He is himself one of the 
actors in the play. He joins one of the groups that leave the 
bus to visit the Hotel Monte Solaro, where the guide explains 
a curious incident that took place there in the ballroom at the 
close of the last century. It is the story of Torro, a great 
hypnotist, who could bring an entire audience beneath his mes- 
meric spell. The guide proceeds to tell the incident that brought 
an end to this mystic genius. The prologue ends. By graceful 
art the listener becomes lost in a fascinating situation that keeps 
him spellbound to the end. Why not more plays like this? 

Smith Ballew 

Crowned Queen of Beauty 

Hazel Johnson, of KFYR, Bismarck, North Dakota, Wins 
Radio Digest's Campaign to Find Most Attractive Radio Artist 

R<\DIO DIGEST'S first annual con- 
test to find the most beautiful 
girl in radio has come to a close. 
""Hazel Johnson, popular enter- 
tainer at KFYR, at Bismarck, North Da- 
kota, is declared the winner and this 
month Miss Johnson's portrait, painted 
by Charles Sheldon, famous portrait 
painter of New York, appears on the 
cover of Radio Digest. 

For the first time readers of the maga- 
zine were the judges in a beauty contest 
and the interest in the campaign, which 
extended over a period of four months, 
was indicated by an avalanche of votes. 
The original thirty-two contestants rep- 
resenting as many radio stations and 
chains of stations, narrowed down to 
three in the finals — Harriet Lee of WABC, 
New York City; Donna Damerel of 
WBBM, Chicago, and Hazel Johnson, 
representing the west. 

Miss Johnson's radio career extends 
over a period of four years at the Bis- 
marck station, where she conducts some 

of the most popular air features. The 
Musical Memories broadcast from that 
station is one of the outstanding pro- 
grams in the far west and during this 
performance Miss Johnson plays, upon 
request, any musical selection desired by 
the radio audience. She is a pianist of 
real ability, plays the organ and vocal- 
izes. Another program regularly tuned 
in by listeners to KFYR is the Tuneful 
Moods hour in which Miss Johnson plays 
the piano and sings. 

The 1932 Beauty Queen of American 
Radio is a true daughter of the west. 
This winsome, blonde, blue-eyed damsel, 
is just twenty-three years of age, and 
Mott, North Dakota, is her birthplace. 
Her musical tendencies were evidenced 
at the tender age of eight, and her studies 
have continued to the present time, her 
most recent studies being devoted to the 
pipe organ. This versatile young lady 
has even conducted dance orchestras of 
her own, and her unusual musical memory 
enables her to play numberless popular 

compositions without the use of a score. 

As a radio artist she has the happy 
faculty of projecting the charm of her 
personality through her voice into the 
homes of her listeners, and her fans are 
legion. Each week hundreds of musical 
requests are . received from all over the 
west and parts of Canada, and she has 
made thousands of friends among her 
unseen audience. 

When KFYR announced that Miss 
Johnson had been entered in the Radio 
Digest contest for the selection of a 
beauty queen of American radio, her 
friends eagerly came to her support. 
Miss Johnson was the winner by a safe 
margin, the order of votes being: Hazel 
Johnson, 2153; Donna Damerel, 1412; 
Harriet Lee, 1096. 

After the use by Radio Digest of Miss 
Johnson's portrait on the cover this 
month, the original painting will be pre- 
sented to the young lady with the com- 
pliments of this publication and good 
wishes for continued success. 

Hazel Johnson, blond venus of KFYR, Bismarck, North Dakota 

This is the face which Jean Sar- 
gent was afraid to "show in 
public without a mask. Jean 
says the real mask proved only 
asymbol of the deadlier mask 
of self consciousness which she 
later conquered with difficulty. 

jean ^argent 

Removes Her Mask 

By Hilda Cole 

AT LAST we have the real Jean 

f\ Sargent. Everybody is talking 
I \ about her sudden and well de- 
served success. How can a girl 
reach such heights in so short a time? 
I asked her, and she said she had shed 
her mask. Of course that takes some ex- 
planation. It would be hard to imagine 
why such a charming girl should wish to 
conceal her pretty face behind a mask. 
; (See portrait on opposite Page.) So I 
jaunted along with her from the Colum- 
bia studios on Madison street to her 
apartment opposite the Ziegfeld theatre 
and she told me the story. She had 
Barney, the little Scotty, on a leash. 
Barney must have his daily stroll. 

"So many of us are wearing masks, 
and we don't know it," she said after I 
had brought up the subject again. "We 
imagine everybody is looking at us at all 
times and thinking unpleasant things 
about us. So we hide behind masks. to 
conceal the true selves that are within. 
Why should we be afraid when there is 
nothing to fear? The most of us after 
all are decent and respectable. But I 
guess there never was anyone in all the 
world so self conscious and afraid as I, 
when I was in the teen age." (She re- 
cently celebrated her twentieth birthday.) 

"One day the thought of the mask oc- 
curred to me. It was during the plans 
for a school play. Let's see, was it the 
Friends Seminary or the Mary Lyon 
School? Well, anyway they all said I had 
to take a certain part. It was a Girl 
Scout play. At first I was pleased with 
the idea. Then when I thought of ap- 
pearing before an audience, alone, I fairly 
choked with fear. It was a terrible sen- 
sation. And as the time came for me to 
go on I became more terrified. So finally 
I said I would not attempt it unless I 
could wear a mask that would conceal 
my identity. And that was what I did. 
Behind the mask I was quite a different 
person. Nobody knew my real self, so 
it didn't matter. . . . Oooh!" 

Jean suddenly jerked Barney to her 
side and looked around at a pudgy little 
man who had just passed. 

"Why, what's the matter?" I asked. 

"Don't tell me you didn't see that 
man!" She exclaimed. "He was cross- 

eyed, I swear." The crowd jostled us. 

"What of it?" I was amused and a bit 
embarrassed. "You don't suppose it was 
a mask?" 

"No. But I'm going to knock wood." 
She darted across the sidewalk and tap- 
ped a little sign to an optical shop with 
her fingers. "Sure I'm superstitious. 

(~ZLO ZIEGFELD, world famous 
_/ glorifier of American girlhood, 
found himself signed up to a series of 
broadcasts with any number of new and 
perplexing problems on his hands. The 
first was to find a perfect radio person- 
ality girl. Then he heard of a new face 
and a new voice in the latest Broadway 
musical show, "Face the Music." There 
he found ]ean Sargent and immediately 
adopted her into his magic circle. Hilda 
Cole found that ]ean was like a butter- 
fly just fluttering from its chrysalis. 
Very briefly she tells about it here. 

I've dropped my mask, you know, and 
I'm not concealing the fact." 

"That's just another way of saying, 'be 
yourself isn't it?" I asked and inquired 
how she finally got rid of her mask. 

XT EOPLE seemed to think 
I could sing. Mother and dad are good 
singers, and we used to have songfests 
back home in Philadelphia. Mother is 
contralto and dad used to solo in the 
glee clubs at Yale and Brown. The others 
would get me singing along pretty brave 
at home, then they would fade out and 
the first thing I knew I would be singing 
all alone. 

"One day I visited a broadcasting sta- 
tion and when I saw that the person 
singing before the microphone was prac- 
tically alone and unnoticed by anyone 
else I thought I would like to do that. 
And sure enough I had my chance. Then 
summer came and I went with mother 

to Santa Monica, California, where we 
have a bungalow. When I came back 
East my place on the studio staff had 
been filled. I had an idea I would like 
to write. Somehow I managed to see 
a newspaper editor and sell him the no- 
tion I could conduct a radio column. 
Then I had my experience at interview- 
ing. That was the beginning of the 
process of getting rid of my mask. It 
was easy to see how many people -wore 
masks when they were interviewed — and 
it seemed silly. 

"But the first real effort came when 
dad arranged for me to sing during a 
certain dance intermission at a hotel roof 
garden. I rehearsed with the orchestra. 
They all gave me great encouragement 
and I resolved firmly I would stand up 
and go through with my song come 
what may. 

"The dreadful moment arrived with me 
quaking and gasping but steadfastly de- 
termined. My legs carried me forth but 
as soon as I saw the faces looking up 
at me the knees began to weaken and I 
actually collapsed over a railing. The 
folks were kind, however, and applauded 
vigorously. That stimulated me and I 
went through with it. The old mask 
took an awful wrench with that expe- 

"It wasn't half so hard later when I 
was asked to sing before a newspaper 
club. And that was how I came to arrive 
in New York." 

Jean told how she had gradually begun 
to realize that real human beings were 
interested in true other human beings. 
She resolved to be just as natural and 
true to her individual self as possible. 
She sang unaffectedly, and there was a 
man in the audience who seemed more 
than casually interested. He was en- 
thusiastic. After it was over he urged 
her to go to New York and see his friend. 
Sam Harris, who was working on a new 
show. He gave her a letter of introduc- 
tion. Just before last Christmas she 
came to New York with the letter and 
went to the theatre where Mr. Harris was 
rehearsing the show now so popular on 
Broadway, "Face the Music." Irving 
Berlin, who wrote the music, was there 
(Continued on page 48) 

The four original Round 
Towners in a special 
line-up for Radio Di- 
gest show from left: 
Brad Reynolds, top 
tenor, Larry Murphy, 
lead tenor; Evan Evans, 
baritone, and Lon Mc- 
Adams, bass. CBS fea- 

(ulose t± \ 





Thank you gentlemen. 

You have been listening, friends of the radio audi- 
ence, to the Round Towners. They vocalize for you 
every now and then the spirit of the metropolitan night life 
over the Columbia system from New York. 

And, now that you have heard them sing, here they are. 
Perhaps you have wondered how they look. They have been 
heard from this station regularly almost from the time the 
Columbia system has been organized. A popular feature. 
\fter all when you have been dialing around thxough the 
maze of jazz jamborees, blue-of-the-nighting, operatic ariatics, 
political palavering and all, what can be sweeter than a sud- 
den sweep into a good old foursome of he harmonizers! 

Barbershop chords? Yea, brother! You think of the time 
when you snuggle down under the towels and aprons while a 
sea of lather sprays and dashes around your nose — and from 
over in the corner comes a rhythm to the flashing steel on 
razor strap of four white jacketed troubadors blending their 
voices in pleasing melody. It may, perchance, be these very 
four — over the air, or on a phonograph re — beg, pardon, elec- 
trical transcription. (But never an electrical transcription 
over the air on a chain program ! ) 

On the left in the picture, sounding the high "Ad-" to "Ade- 
line," is Mr. Bransford Reynolds who started out to be a doctor 
according to family tradition. But when he got to college 
and joined a glee club he concluded the world was more in 
need of soul tonic and gave up his medicine kit for a music 

What, ho! These gen- 
tlemen seem to be 
caught, as the poets 
say, in "frozen music." 
On the other hand it is 
possible they are only 
listening intently for 
someone to call, "Poker 
game in the next room!" 


Xvound 1 


roll. His father and other members of family in St. Joseph. 
Mo., did not approve of this deviation. So Bransford became 
independent and started out on his own with a scholarship in 
his pocket. He found the exact spot he wanted when he 
became one of the Round Towners. His only operation has 
been to amputate the midsection of Bransford so that it now 
has become "Brad". 

By the time this picture comes to you it is very probable 
Mr. Larry Murphy who nestles under the shadow of Brad 
Reynold's chin will have departed elsewhere. His place will 
be taken by Mr. Carlton Boxill who also had started out with 
an M. D. for his goal. But the war amputated his income. 
He had a family to support. Fate and an exceptional voice 
brought him to radio and the Round Towners ensemble. 

Evan Evans, third from the left, won a fellowship in the 
Juilliard Music Foundation. New York, and journeyed to 
America from his native heath in Liverpool, England. It 
has been three years since he first joined the Columbia staff. 
He has been on many notable programs as well as in the 

Alonzo McAdams is the merry gentleman at the extreme 
left. Alonzo is his name but only a few people know it. His 
friends all think his first name is "Lon". But that doesn't 
interfere in any way with those deep chest notes that make 
you shiver when you hear the Round Towners sing deep sea 
sailor tunes. He became a radio singer in 1923 and had con- 
siderable to do in the development of modern technique in 
placing singers at the right distance from the mike. 






When Missouri Asked Robert Simmons 
to Demonstrate He Proved He Could 

By Nellie Revell 

IT WAS a long, winding, and treach- 
erous road that led from the little 
railroad station up to the spot on 
the Ramapoo mountainside where 
young Robert Simmons was building his 
summer home. And as the interviewer 
toiled upwards, she could not help but 
liken it to the road that Simmons had 
traversed in his climb from obscurity to 
a featured place on the world's most 
extensive broadcasting chain, and promi- 
nent niche in concert circles. 

She reflected on the career of this 
surprising youth. . . . What had kept 
Robert to the road so steadfastly, when 
economic difficulties had made such a 
serious impasse? What had helped him 
to hurdle his obstacles, instead of going 
off into an easier by-path? Probably 
something of the pioneer spirit of his 
Missouri ancestors, who had conquered 
because of difficulties. Robert had re- 
versed the well-known Missouri "show 
me" to "I'll show them". And surpris- 
ingly enough this extremely likeable 
young chap had lost none of his ideals 
along the way — and now, while yet in 
his twenties, had reached his goal! 

The priceless gift of faith had been 
inherited from his minister father and 
missionary mother. And the young 
singer's inspiration even today is the 
thought of his dearly beloved critic, his 
mother, listening in from the Ozark 
Mountains to his broadcasts. 

His early musical training most cer- 
tainly was due to his father, whose power- 
ful rich voice was famous in Fairplay, 
Missouri, where he conducted evangeli- 
cal meetings. Robert, and his two 
brothers and father soon became known 
as "the Simmons Male Quartette". 

And though young Robert realized 
that "music is a gift from heaven" and 
inspiration itself, he also knew that 
"genius is nine-tenths perspiration," and 
so early morning and late evening saw 
Simmons Jr. at the local merchandise 
store, while during the day he attended 
school in Fairplay. 

No one-sided career for this young 
artist, however! Characteristic of his 
sturdy, independent spirit, at fifteen the 
youth worked in the harvest fields and 

continued his studying at the same time. 
This same persevering spirit carried him 
through preparatory school at Marion- 
ville, while clerking in a local store. That 
completed, he went on to St. Louis, 
where he attended Washington Univer- 
sity, aided by his income from church 
singing, and odd jobs. 

In St. Louis, the young singer con- 
nected with the Municipal Opera Com- 

CT~\OES the boy from the country 
JL^/ have any chance these days? 
Ask Mrs. Simmons down in the Mis- 
souri Ozarks about her boy, Robert. 
. . . And she'll invite you to tune the 
young man in as he sings from the 
NBC studios in New York. He is 
thinking of her as he faces the mike. 

pany, and then his real voice training 
began in earnest. He worked his way up 
from small parts to the singing of juvenile 
leads, although he was the youngest mem- 
ber of the company. 

Yet even this was only a beginning! 
He proceeded to Boston University and 
the New England Conservatory, attend- 
ing both simultaneously while also earn- 
ing his tuition. He now did oratorio and 
concert singing; conducted the Choral 
Art Society, and in the summer per- 
formed Chautauqua work. During the last 
two years he was not only a faculty 
member of both Universities, but in ad- 
dition, he filled with distinction the re- 
sponsible position of musical director of 
the Copley Methodist Church. 

Having now a thorough background of 
American technique, the young artist 
centered his attention upon a European 
course of study. He won a modest tri- 
umph in Berlin. 

Then radio claimed the attention of 
artists the world over, and Bob's pro- 
gressive spirit urged him homeward. On 
his arrival, he characteristically went 
straight to his objective, and found him- 
self one of hundreds knocking at Radio's 

door. The young singer's firm determi- 
nation and captivating personality won 
him an audition, however, and thousands 
of radio fans throughout the country 
know the rest of the story. 

But though Simmons may have been 
lacking a bit in finances at the start — he 
was never lacking in friends. His loyalty 
to a friend is the same as his unswerving 
devotion to his music. His winsome 
smile, mischievous brown eyes, and frank, 
boyish expression have won him admirers 
young and old. 

/1.ND now the interviewer 
stopped her climbing to rest a moment. 
The stillness of the woods was suddenly 
broken by the haunting strain of "The 
Rosary". It was one of Simmons' 
records, and the same record that some 
years before had brought a very beauti- 
ful and helpful friendship into the young 
singer's life. . . . 

Mrs. Nevin, elderly widow of the well- 
known composer had been driving in 
Maine, where her summer camp was lo- 
cated, when one of the tires blew out. 
While it was being replaced, she heard 
a phonograph playing "The Rosary" and 
was so impressed with the clarity and 
sweetness of the voice that she went up 
to the cabin to ask whose record it was 
. . . and found it had been made by 
Robert Simmons. She wrote to him, 
mentioning how he had caught the spirit 
of her husband's composition, and thus 
began a beautiful friendship, which was 
fostered by the fact that Robert Sim- 
mons happened to be one of the prize 
pupils of Mrs. Nevin's old friend — Frank 
LaForge. Mr. LaForge had often men- 
tioned the ambitious fellow from Missouri 
who was one of his most industrious 
pupils, and had earned every bit of his 
musical education by his own efforts. 

The song echoed — and was gone — but 
just above was the welcoming singer him- 
self. A merry greeting was waved, and 
joyous barks from the dog at his side, 
Simmons' beloved pal, made the visitor 
feel instantly at home. The difficult 
climb was now forgotten in the splendor 
of the view — and the friendly hospitality 
of "just Bob" Simmons! 



^v ^^— ** 

G.Malllard Kesslere 

Robert Simmons 

1 1 HIS delightful young Missouri an traveled far from home to find fame and fortune. 

-* Still in his early twenties he has become famous in concert and as a radio star. Miss 

Revell tells how he climbed the ladder of success and kept his head level through it all. 


Letters To 




The Ladies, God Bless Them, 
Are His Best Correspondents 

By Edward Thornton Ingle 

— gracious me, what a time I have with 
all my mail ! Oh, how I love to hear from 
the .Old Guard! 

"There's something so heartening about 
a letter, especially a chatty and informal 


VIRULENT and hilariously dan- 
gerous malady, now known to 
the best medical minds of our 
country as Per kins cribia, and 

commonly called Perkinuritis by 
the street, is sweeping the 

the man 

From every mud flat, cactus patch, hay 
field, palm-fringed shore, filling station 
(hot dog or gas), drug store and home- 
stead — from coast to coast — a seething 
sea of mail pours in like a Niagara upon 
the National Broadcasting Company head- 
quarters in New York. True, not all of 
this amazing avalanche is directed at the 
sorrel-thatched subject of this sketch. 
But those who count the letters at NBC 
will tell you that the Old Topper receives 
thousands upon thousands of missives 
from a very substantial and important 
section of the vast radio public. 

The victim of Perkinscribia is first 
seized with laughing paroxysms that seem 
to grow more and more chronic, until at 
last the subject succumbs and then quite 
out of his mind subscribes his thoughts 
and feelings to paper. Thus is explained 
the mountain of fan mail that reaches the 
old chief of the Perkins Laboratories, Ltd., 
each week. 

"Where does it come from — all this 
mail? Playmate, you've caught your 
Uncle Ray in a mellow and sentimental 
spot. Why, my goodness, it comes from 
everywhere, North, East, South and West 
— Omaha, Neb., Zinc, Ark., Sebastopol, 
Cal., Zolfo, Fla., Ty Ty, Ga., Nez Perce, 
Ida., Amo, Ind., Zwingle, la., Boston, Ky., 
Paw Paw, Minn., Tushka, Okla., Pros- 
perity, S. C. (I'm going down there and 
look for a hopeful citizen), Java, S. D., 
Bellbuckle, Tex., Winter Quarters, Utah, 
Nicldesville, Va., Wauzeka, Wis., and 
Meeteetse, Wyo. and a lot of other places 

communication," said the punning funster 
as he sat securely wedged between two 
mountain ranges of correspondence. 

"You know I always get the informal 
kind at the first of every month. 'Pay- 
ment will be appreciated.' 'If you have 
already paid this bill, disregard this no- 
tice,' and other friendly missiles, I mean 
missives, of vicarious sorts," the old hu- 
morist went on. 

"Then there is 
the confidential com- 
munication from the 
Grand Old School. 
'Doubtless you have 
had many demands 
made upon you, Mr. 
Perkins, but — ' and 
so forth and ad in- 
finitum. 'The fra- 
ternity would like 
to hear again from 
Brother Perkins,' 
(they're always 

thinking of buying another house, or plas- 
tering the old one) and please could he 

"Of course there are the ladies! God 
bless them. And of these Ray Lamont 
Perkins can only say, they are my most 
faithful correspondents. I do hope I've 
said the right thing! As Queen Elizabeth 
said to Walter Raleigh, 'Keep your shirt 
on, kid, keep your shirt on!' 

"But seriously, folksies, there are real 
thrills in all the fan mail. Don't let any- 
one tell you it is just so much fodder for 
the paper bailer! I wouldn't trade some 
of the associations that have grown out 
of the mail for anything in the world." 

JLERRTNS speaks soberly 
of these. There's the blind woman in 
Baltimore who gains much from Ray's 
programs. She writes him regularly from 
a hospital there and offers excellent dog- 
gerel and hu- 
mor for his 

There is 
the little 
crippled girl 
in Massa- 
chusetts and 
the postmis- 
tress in the 
isolated tiny 

The Artist 



Colorado town in the heart of the Rockies. 
Both offer encouraging huzzas after each 
Perkins outburst. 

One of the humorist's most regular cor- 
respondents is an Irish woman in Phil- 
adelphia who pays her respects in the 
wittiest Gaelic brogue imaginable. (Ray 
was born in Boston, you see.) A pro- 
fessional writer, residing in New Jersey, 
sends Ray many helpful program hints 
and gratis at that! 

To these the triple-threat man of radio 
(song-piano-wit) is ever grateful. He 
answers all of his letters, although it often 
consumes valuable time that could be 
spent on program building. 

Speaking of songs, Ray gets stacks of 
'em from the fond listeners. Poetry too. 
Mountains of it. Some of it very good. 
A lot of it bad. There's a gas station 
operator in Pennsylvania who composes, 
on occasion, some very excellent couplets. 
An Ohio listener sends in a quip now and 
then that is a real improvement upon 
Joe Miller's store of anecdotes. A Texas 
cow-hand contributes a gag worth writing 
home about. A college president in the 
cold Northwest offers doggerel to rival 
Banjo Eyes Cantor or Zanie Wynn. 

Known for his bent for inventions — > 
particularly in the labor-saving field, the 
listeners send in many worth-while sug- 
gestions. When Ray recently announced 
his shirt-saving linoleum necktie for 
spaghetti eaters, a woman sent him a life- 
size model in linoleum with sponge at- 
tached. Among other inventions that 
have brought loud amens from his na- 
tionwide audience, are ah automatic self 
back-patter, a device for shooting Con- 
gressmen, a cigarette lighter that works, 
a non-stop and non-leak fountain pen, an 
automatic 'Oh-yeah!' phonograph record 
that can be played whenever a candidate 
starts telling how he'll end the depression, 
a Perkins non-skid banana peel and many 
other inventions that already are proving 
destructive to life, limb and property. 

Ray answers his mail. He's meticulous 
about it. In fact, he employs two sten- 
ographers who are busily engaged at this 
task each full working day. 

However, because of the volume of his 
correspondence, Ray has evolved a novel 
and extraordinary automatic letter which 
fits 999 different situations. It is included 
here to illustrate Ray's ingenuous meth- 
ods. We believe it should win him the 
Pulitzer Prize for original literary effort 

or be incorporated in the Congressional 


National Broadcasting Co., 
New York City 

Subject: Yours of recent date 
Hi there! 

Lady Sweetheart 

Mister Ducky Wucky 

Buddy Mon Petit Choux 

Glad to hear from you. 

Thanks for the nice things you said about 

the program. 

How are all the folks? 

THERE are letters that hint of ro- 
mance and letters that simply ex- 
press appreciation for a rift in the 
clouds of the general depression. Here 
is a bit from a business office in a Massa- 
chusetts town where they interrupt the 
morning routine to listen. The writer 

"Dear Ray of Sunshine: (And not 
forgetting responsive Clarence.) We are 
wondering in this office whether abso- 
lute suppression of all business from 10 
to 10: IS every Thursday and Friday 
morning is going to be good or bad for 
the general depression of our particular 
group! It is a fact that, at the times 
mentioned, everything to do with busi- 
ness stops, and the whole office force, 
varying from one to four, rushes to the 
radio, smiling from ear to ear with 
excited anticipation of what the next 
fifteen minutes will bring. Sometimes 
when business is likely to hold every- 
one's attention and 10 o'clock might slip 
by unnoticed an alarm clock is called 
into service and rings out at the proper 
moment. We want you to know how 
much of a tonic you are to this particu- 
lar group." 

There is more and the letter is signed 
by four people. Another letter is from 
a girl in Indiana who says she is an 
amateur astrologer. She writes in part: 

"I have been working diligently on the 
correction of your birth hour, and, you 
may tell your Ma that her darling son 
Raymond was born, according to his 
personal astrologer, August 23, 1896, 
at 1:06 p.m. ... I erected Little Lindy's 
chart his death was Fate. His sun was in 
the 8th House, the House of Death; his 
Rising Sign was Scorpio, the Death sign, 
and his Moon was opposition the ascend- 
ant. The wonder to me is that he man- 


aged to live as long as he did. I am 
going to give you a few teasing hints 
about your own chart. Boy ! You have 
a splendid chart, and believe you me, if 
I ever had an affaire amour (there is 
no danger though, as no man is attracted 
to a girl who uses a cane), but at that 
I would certainly grab a guy with a 
chart like yours ... I knew your 
extraordinary musical talent would 
manifest in your stars; you possess 
super-talent in music." 

Sophisticated matrons write with the 
kind of wit that the infectious Perkin- 
scribia inspires. Says one: 

"Well ! Such recompense for lost pro- 
grams! Despite tonite's evil reception 
that was a trig little bit. Oh to be a 
turtle and then to pack so much into a 
square inch or so of time! My word! 
But to start where most days do your 
little 'Princess who slipt on a kimono' 
really never 'lived.' I know a Cinder- 
ella who slipt into some Rayment, cut 
rite out of sunlight — one spring morn- 
ing — and lived whistily ever after. 
Don't shoot, I could jump that fast. 
In fact by 9:15 a.m. tomorrow every- 
body should be that over-subscribed 
with the Perkins' plan of exhileration 
that they'll do up the house and tie a 
bow on it, dash together something in- 
triguing in pineapple, and draw up some 
solutions to our national problems by M. 
— unless they're complete slouches . . . 
One thing is certain in this present wise- 
cracking year of grace the real thing 
is still the rarest of arts . . . Another 
Gee-whiz at the grandeur of Niagara! 
And the last one until the snow flies, 
('In Nome,' says you), but really no, 
rite here at home — word of a gentle- 
woman (up 'til now) and then to home 
. . . and I put pleecemen on all corners 

(Continued on page 40) 



^Farewell to Jielene Jiandin — 

'Two Troupers" Sever Ties 

Marcella Shields Hears from Former 
Team Mate as she Sails for Pacific 


HEY-HEY and a couple of 
ooy-ooys — we're off to the 
land of "Yes men" and 
Hollywooden ladies, and am 
I thrilled? You tell 'em! As I watch 
that much advertised N. Y. skyline 
recede in the distance, I just can't 
squeeze out a single tear ; and you know 
why, Baby. It's because I'm bound 
for that sunny God's country Cali- 
fornia. Don't laugh, you old dyed-in- 
the-wool New Yorker, you know I've 
always been as dippy over Cal. as one 
of those much razzed "native sons." 
As a matter of fact I'm sticking out 
my tongue at Broadway, not that that 
gesture is very lady like, but then who 
ever accused your wise-cracking side 
kick, of being one of "them" things 
anyway. Nor has Broadway "done me 
wrong" or anything like that, far from 



it. That old street and a couple of adja- 
cent ones has been pretty darned good 
to you and me, and I know I have some 
of the grandest friends a gal ever had, 
along that old Mazda Lane. No, I'm not 
sore on Manhattan, I'm just fed up with 
it I guess, in fact, I suspect that at heart 
I am still a wild and wooly westerner, 
pardon my wet glove, not so wild nor so 
wooly, Broadway having extracted quite 
a portion of that — but western "anyhoo." 
I loathe old made over "walk up" apart- 
ments and funny antiquated plumbing 
with bathtubs that take all day to fill 
and Micky Mouse families running around 
so called kitchenettes, which are really 
old clothes closets that have had their 
faces lifted. No — I like shiny new places 
with kromium fixtures and smelly new 
paint and that's what you get out West. 
I like shiny new ideas too and N. Y. is 
so conservative it won't let you try 
them out, so I'm going out West, to the 
land of platinum blondes — no I'm not 
going to be one — and try out some of my 
new ideas at KFI, and as Ben Bernie 
would say, "I hope they like it." Just an 
"apple knocker" from the wide open 
areas, DID I hear you remark? — Okay — I 
glory in it. 

Getting back to that gorgeous N. Y. 
skyline tho, it's sure an eyeful and it 
makes me marvel at the wonder of the 
old burg, at that. Now we're passing 
the building of my favorite afternoon 
newspaper and I'm waving farewell to an 
awfully nice Radio columnist who has 
always been especially good to us. Oh- 
oh — there's that dear old Gal with the 
lamp who guards our harbor. Goodbye 
old thing, take care of N. Y. while I'm 

Now I can sit back in my deck chair, 
draw a deep breath and relax, or maybe 
I should say collapse — and look the other 
"buckwheats" over — I said — other! 

Hot Freckles, I've fourteen days of 
rest ahead and do I need it after that hec- 
tic rush of the past few weeks! The wa> 
I ran around getting orchestrations of all 
the new numbers in my keys; having new 
photographs taken at NBC, incidentally 
the best likeness I've had in ages, (clapj 
calloused mitts for our new photogra 
pher); packing endless trunks, being en 
tertained at farewell dinners, luncheons 
etc, it's a miracle that I ever made the 
boat . Holy Hamberger, you should have 
seen me this morning boarding the Vir- 
ginia with a suitcase, typewriter, portable 


Kartin nicest by Michael Oallo 

by the MlNUTE in RADIO 


Frank Luther, tenor, is a native of 
Kansas and knows horses. He rides them 
mornings in New York, and spends spare 
week-ends playing tennis and swimming 
in Connecticut. 

Nellie Revell, the Voice of Radio 
Digest, calls it vacation enough to visit 
her niece, who is studying at a New- 
burgh, N. Y., convent. 

Madame Sylvia, beauty expert, thinks 
vacation is a rest. So she cuts down 
her daily hikes from seven to five miles 
a day, rain or shine. 

B. A. Rolfe, the rotund maestro is still 
grinning. He took a vacation in Honolulu 
last year. Now he is satisfied with a 
radio star's furlough. The master of the 
Ivory orchestra has purchased a new boat, 
appropriately named, It Floats, because 
we think it's 99 44/100% sink proof. He 
takes his dogs Trouble and Bum along 
for Long Island cruises. 

George Olsen, the Canada Dry music 
leader and his golden-voiced wife, Ethel 
Shutta, say New York is a nice place for 
a vacation. What else can they say? 
Nevertheless, they frequent Long Island 
beaches and golf courses. Incidentally, 
Olsen is one of the few men who will 
play golf with the "Missus." 

A vacation interview with the famed 
Sisters of the Skillet proved very illumi- 
nating. We'll let Eddie East and Ralph 
Dumke tell their own story: 

"Vacations, huh. Sure we're going on 
a vacation," said the roly-poly Ralph. 
"Sure, I'm going by motorcycle to Starved 
Rock, Illinois. Ed likes boats. He'll go 
to Coney Island on week-ends and maybe 
get reckless sometimes and take side trips 
to Palisades Park." (Both places are in 
the New York City limits.) 

And in rapid order, Eunice Howard, 
actress, will go speed boating; Gene 
Arnold, trout fishing; Edna Kellogg, 
famed soprano, continue her flying les- 
sons and ride horses; D'Avrey of Paris, 
ride in Central Park; Ralph Kirbery, the 
Dream Singer, is building himself a dream 
cottage in the woods on the outskirts 
of Paterson, N. J.; Robert Simmons, rid- 
ing horses in Cornwall, N. Y. ; Graham 
Harris, musical director, fishing in New 

Others are luckier. F. A. Mitchell- 
Hedges, lecturer, is away from the micro- 
phone on a trip to the Central Ameri- 
can jungles. He writes, "We are sur- 
rounded by acres of giant lilies, orchids 
and trees 250 feet high." 

Countess Olga Albani, Spanish singer, 
is on a motor trip through her native 

Then we return to another radio star 
and find that Phil Dewey, of the NBC 
Revelers, is playing golf in Westchester 
and calling that a vacation. 

Jessica Dragonette, Cities Service so- 
prano, will take her first vacation in five 
years. She will rest and study and return 
to the air in the Fall. 

Richard "Sherlock Holmes" Gordon, 
will squeeze in his vacation far from the 
mystery roles he dramatizes. He will don 
overalls and putter about the workshop 
in his Stamford, Conn., home. 

Ely Culbertson, famed bridge master, 
will take a summer off from the Wrigley 
Program and sail for Europe, the con- 
tinent of his birth. 

On the other hand Rudy Vallee, unable 
to take a real vacation, will fly between 
New York and Maine for his spasmodic 

They say Frank Luther (right) 
is a polo bear. 


Graham McNamee pur- 
sues the rubber pill up 
the Adirondacks. 

,**sp*x-«*- '*-••.»■ 

George and Mrs. Olsen 

(Ethel Shutta) and the 

baby Olsens. 

Phillips H. Lord 

(Seth Parker) 

goes golfy. 

Billy Jones and Ernie 

Hare feeding the fishes 

their worms. 


Tellers Who, How and Why 

Under Colors of the National Broadcasting Company 

CHARLES O'CONNOR told our in- 
terviewer his chief hobby was talking. 
He started with da-daing June 10, 
'10, at Cambridge, Mass., and has been 
at it with variations ever since. Just 
you try to tell an O'Connor sometime! 

ALAN KENT, blond, unmarried, re- 
laxes by tearing decrepit autos apart 
and making 'em over. Born in Chi- 
cago, Aug. 4, '09, and has an "I Wil- 
ling" spirit. Always friend to under dog 
or any old dog. Prefers mut to pedigree. 

funds running low while studying for 
a medical career and picked radio to 
replenish the exchequer. He married 
a good listener in '2 5 and has been 
teller-whoing and how ever since. 

CLYDE S. KITTELL, married, fair, 
got his training telling prospective 
customers about stocks and bonds. He 
switched over to WGY listeners in '29. 
He ■was born Sept, 22, '00 — a naughty, 
naughty man, but nice on the air. 

BEN GRAUER, born New Yorker, 
found happiness as star in Bluebird. 
Has been acting since 8 years old — 
screen, stage and radio. Also attended 
college and made hobby of collecting 
rare books. Unmarried at last reports. 

CURT PETERSON is no lady but 
NBC read his odd chirography on ap- 
plication as "Miss" Peterson. His 
voice sounded good on phone and they 
hired him anyway. Married after 
campus romance at Univ. of Oregon. 

"Teller Who" Extraordinary, a Phi 
Beta Kappa, and A.B., Harvard gradu- 
ate in theology, world traveler and 
lecturer. Invented device that did 
work for twenty men. Won scholarship. 

his arrival in Station WORLD at 
Omaha, March 24, '09. That same 
day 12 years later he owned a radio 
transmitter. He inherited Colorado 
ranch, wants to sell it and marry. 

DANIEL RUSSELL can "tell who" in 
Spanish, French, German, Italian, Rus- 
sian, Danish and Norwegian and is 
making some progress with the Chinese 
alphabet. Also experienced in psy- 
chological research. Ver' intellectual! 


on Big Time Key Stations 

Affiliated with the Columbia Broadcasting System 

Los Angeles, Pacific Coast edition of 
David Ross. It's his voice. Born near 
Chicago and brought up in his dad's 
Chicago theatres. Played in "Seventh 
Heaven." and "What Price Glory." 

cago, trained for dramatics and sales- 
manship, then got job on small Chicago 
station. "Chic" Sale discovered him 
there and brought him to WBBM. 
Single. Tennis is good; golf awful. 

6 ft. 3 at mikeside. Radiates breezy 
informality that takes stuffed shirt out 
of announcing. Began by singing with 
Wilson Doty, organist at KOIL. Fol- 
lowed Doty to WBBM. Married. 

BOB SWAN, KHJ-CBS, chiel announc- 
er. Began vocalizing as boy soprano. 
Later yo-hoed in Navy. Subsee-quently 
crooned himself into radio. Copped 
mike pilot's license when regular an- 
nouncer disappeared. Married 1 1 years. 

phia, tells who's what on the Curtis 
Institute of Music programs. His 
people helped William Penn pioneer. 
Was president dramatic society in mil- 
itary academy. Stokowski thrill him. 

Normal, taught school and took group 
of juveniles for dramatic program at 
WCAU. Liked radio. Resigned school 
to become announcer. Goes in for 
athletics, and coaching air dramatics. 



CBS, known widely for his "Hallelu- 
jah Hour." Born in Montana moun- 
tains. Educated in Washington. Yearns 
for solitude but can't resist crowds. 
Hobby, flowers. Wife is a fine violinist. 

doubles as artist or announcer. Tenor 
soloist, formerly -with Seiberling Sing- 
ers, Jeddo Highlanders, in quartet with 
musical comedy "Follow Thru"; at 
WOR formerly announcing Uncle Don. 

New York. Tells who Columbia art- 
ists are in regular weekly interviews 
with members of staff over chain hook- 
up. Very popular 'with ladies. Loves 
Ginger Rogers. "Ain't we got puns." 


When Rum or Sickness 

Break the Love Bonds 

HERE are cases on 




record where a man has 
refused to marry a 
woman, to whom he is 
engaged, because of her drunken- 
ness. Quite obviously a woman who drinks 
intoxicating liquor is much less desirable 
as a wife than one who does not indulge 
in that sort of dissipation. No man would 
care to have a drunken mother for his 
children, nor to have a drunken wife to 
ruin his home or his happiness. Neverthe- 
less the law does not treat drunkenness 
of a woman as an absolute defense to an 
action brought by her for breach of 
promise. She may recover some damages 
but much less than if she refrained from 
intoxicants. Expressed in another way, 
drunkenness can be set up to mitigate 
damages but not to defeat them alto- 

For example: Julia Breck became en- 
gaged to Edward Waters, whom she had 
known since they were classmates in 
high school. The girl worked in an office 
and Waters himself was an insurance 
salesman. The young people were accus- 
tomed to attend all the neighborhood 
socials. Waters drove a fast stepping 
horse and a stylish covered carriage, it 
being in the days before automobiles. He 
was accustomed to the moderate use of 
liquor and soon taught the girl to join 
him in this dangerous habit. He grew 
alarmed one night as they were driving 
home to have the girl become very noisy 
from drink. As they approached the vil- 
lage square he remonstrated with her, im- 
ploring her to be quiet. But she was by 
this time in such a wild and irresponsible 
mood that he was obliged for very shame 
to turn back the way he had come and to 
drive for a long time in an effort to sober 
the girl. She had evidently taken more 
liquor than Waters realized, for as her 
maudlin state subsided she fell into a 
drunken lethargy. In this condition he 
drove her through the village street to 
her home and was obliged to endure the 
humiliation of carrying the girl bodily to 
her own door. 

He Had Ruined the Girl 

THE indignant reproaches of her 
parents were next in order. It ended 
by Waters pledging to them that he would 
never again give the girl liquor. He kept 
his pledge. Not long after the event 
Julia aynin became intoxicated at a dance 


Dean of Suffolk Law School, Boston 


/ULIA was so intoxicated her fiance 
had to carry her into the house. He 
broke the engagement. She sued him 
— and collected. Andrew Schnebly 
•waited over jour years for his beloved 
to regain her health so that they could 
marry. Then he gave up and she did 
the courting while the jury listened. 

James Zook lost both father and 
mother by the white plague. Then 
his fiance'e became afflicted with the 
same malady. When it became evi- 
dent she could not be cured he broke 
the engagement but the jury sided 
with the girl. 

Read these true stories of human 
drama as they were broadcast by 
Dean Archer over a large NBC net- 
work in the series, "Laws That Safe- 
guard Society," serially in Radio 

where some friends, without the knowl- 
edge of Waters, had satisfied the girl's 
awakened appetite for liquor. This em- 
barrassing and disenchanting experience 
led Waters to keep a strict' watch upon 
the girl. She herself tried to overcome 
her weakness for intoxicants, but the 
months of moderate indulgence with her 
lover had created too great a craving to 
be denied. The man soon realized that by 
his own folly he had ruined the girl and 
that marriage with her was impossible. 
He finally broke the engagement. Julia 
brought suit for breach of promise of 
marriage. The court declared that in or- 
dinary cases of drunkenness of an engaged 
woman the defendant might plead that 
fact as mitigation of damages, but in 
the case in hand the girl was entitled to 
heavy damages. By the defendant's own 
thoughtless conduct he had brought dis- 
grace and shame upon her with no likeli- 
hood that she would ever conquer the 
habit, which in a woman is so much more 
dangerous than in the case of a man. 

A SITUATION that some- 
times arises to frustrate the 
marriage of an engaged couple is 
that one or the other becomes 
an invalid. The question of a 
man's duty to his fiancee if she becomes 
stricken with ill health to the extent that 
she is unable to marry at the time ap- 
pointed, with no reasonable prospect of 
recovery, is a very baffling one. 

If a man truly loves a woman her in- 
validism should appeal to the noblest in- 
stincts of his nature. There are many 
cases on record where men have sacri- 
ficed happiness and the prospect of 
parenthood all because the girl of their 
choice has been stricken with an incurable 
malady. We all know of such instances 
of heroic devotion. If a man is married 
to a woman who falls victim to some 
wasting disease he is doing no more than 
his bounden duty. But for a man to 
marry his invalid, as did the great poet 
Robert Browning, is an example worthy 
of all admiration. 

The law, as I have previously pointed 
out, takes a very unromantic view of the 
problems of human mating. A sound 
body is considered one of the prime 
requisites of wife or husband. We may 
therefore expect, so far as the law is 
concerned, that if either of the parties 
become physically incapacitated for the 
duties and obligations of matrimony, and 
the condition is apparently of a perma- 
nent nature, this fact will entitle the other 
to repudiate the engagement. 

The Girl Fell III 

FOR example: In October, 19Q4, Ida 
M. Travis became engaged to marry 
Andrew Schnebly. She was then in good 
health. In February, 1905, however, she 
became very irritable and worn as though 
some serious malady were laying hold 
upon her. The local physician was quite 
baffled by her trouble but expressed the 
opinion that something ' was decidedly 
wrong with her kidneys. In order to se- 
cure the best of surgical treatment Miss 
Travis went to the City of Spokane and 
entered the hospital for observation and 
a careful diagnosis. 

The surgeons decided that she had 
what is known as a floating kidney. She 
was operated upon for this ailment, but 
came through the operation very badly. 
It was not until September, 1905, that she 


was able to see the de- 
fendant or to be up 

and around the house a 

portion of each day. 

Even then she was in a 

very frail and weak 

condition. Later that 

same Fall she had a. 

relapse in the nature of 

nervous prostration. 

The defendant visited 

her five or six times 

during the following 

winter. During the 

summer of 1906 she 

was absent endeavoring 

to regain her health. 

Schnebly saw her in the 

fall of that year but 

she was still an invalid. 

In the spring of 1907 

she was apparently in 

better health, so the 

man urged an immedi- 
ate marriage. She de- 
murred to the plan and 

asked him to wait until 

fall. In the fall of 

1907, however, there 

was a further postpone- 
ment until March. The 

woman's health was 

then so poor that mar- 
riage was out of the 

In the following 

June, Ida Travis told 

her lover quite frankly 

that her health was 

such that she would re- 
lease him from the en- 
gagement. He declared 

that he would prefer to 

wait until fall. In 
September, 1908, the 
faithful Schnebly again 

urged marriage but was 
put off. In February, 
1909, he again offered 
himself but the girl 
said he must wait until 
fall. Whereupon 
Schnebly told her that 
he had waited for her 
nearly four and a half 
years and could wait no 
longer. He informed 
her that so far as he 
was concerned the en- 
gagement was at an 

Schnebly later mar- 
ried another woman. 
This action for breach 
of promise was brought. 
The court held that under the circum- 
stances Schnebly was not liable for dam- 
ages, i 

The case was Travis v. Schnebly, 68 
Wash. 1, 122 Pac. 316. 

Throughout the ages the demon of ill 
health has intruded its horny head to 
wreck the happy plans of the little god 
of love. 

No chance for breach of promise in the romance of this happy pair. Wayne 

King and his bride, the former Miss Dorothy Janis of Ft. Worth, vow that 

their love shall last forever, forever and forever. 

Contagious Disease 

NO more serious calamity can befall 
an engaged couple than for the 
woman to develop a dreaded and deadly 
disease like tuberculosis. Not only is 
there the inevitable wasting away of the 
woman but the danger to the health of 
the man is very great. While many men 

bravely undertake mat- 
rimony in such cases, in 
the hope that marital 
happiness may assist in 
effecting a cure, yet 
there is no legal com- 
pulsion in the matter. 
The unfortunate stroke 
of fate will operate to 
absolve the man from 
legal liability. 

James Zook was a 
young man whose 
father and mother each 
had died of tubercu- 
losis. Realizing his own 
heredity in the matter 
Zook had taken partic- 
ular care of his lungs 
through breathing exer- 
cises. He became at- 
tracted to a young lady 
named Rowena Grover. 
She was pale and deli- 
cate and had a persist- 
ent cough. There was a 
controversy as to when 
the engagement took 
place. Zook claimed 
that the marriage 
promise was given on 
the evening of January 
6, 1904. He set forth 
as proof the fact that 
on that evening Rowena 
took a ring from her 
finger and gave it to 
him, in order that he 
might have the engage- 
ment ring made of that 
exact size. Every lady, 
young or old, will, no 
doubt, agree with James 
Zook's contention that 
the engagement oc- 
curred then and there. 
Even if it were a leap 
year proposal by Ro- 
wena herself, the con- 
clusion would be the 
same. For reasons that 
will presently appear 
Rowena's lawyer argued 
that the engagement 
did not actually occur 
until January 10th 
when Zook returned 
with the engagement 
ring. The reason for 
his contention was that 
he was seeking to prove 
that Zook became en- 
gaged with full knowl- 
edge that Rowena had 
pulmonary consump- 
tion. The facts were that between the 
6th and the 10th day of January Rowena 
had been examined by a physician who 
had pronounced her a consumptive and 
had ordered her to go to Arizona for her 

It was alleged that when James Zook 
arrived hopefully at the portals of the 
' (Continued on page 48) 





By Rudy Vallee 

i/g/ ON. Few songs have been as 
f f appropriate for the beginning of 
this column, or from a seasonal 
standpoint as this song. Frankly, were 
I to emulate Sigmond Spaeth, as a song 
detective, I would say that the melody, 
'With Summer Coming On," is haunt- 
ingly reminiscent of Mr. Columbo's sig- 
nature, which carries him to you roman- 
tically each evening. However, it seems 
impossible for anything to be entirely 

The song is published by the firm of 
Keit-Engle, the new firm in which have 
been merged the personalities and abili- 
ties of Joe Keit, who for so many years 
directed the policies of Remick, Inc., and 
Harry Engle, who has been an executive 
with various of the big ' publishers, in- 
cluding Robbins, Inc., and Irving Berlin, 
Inc., and who helped to organize Davis, 
Coots & Engle, with its subsequent re- 
purchase back from Radio] Music, after 
the radio executives found that the pub- 
lishing of music was something more in- 
tricate than they had at first thought. 
As Davis, Coots & Engle they had many 
hits, including "Dream a Little Dream of 
Me," "I Still Get a Thrill Thinking of 
You," "Why," in fact all the music from 
'Sons 0' Guns," though perhaps they are 
closest to me in that they were the pub- 
lishers of one of my own. tunes, "My 
Cigarette Lady." 

I am glad to see Keit-Engle start off 
with such an auspicious beginning, as 
this song will certainly be one of the 
most popular on the airwaves, not that 
that will enrich the pockets of the writers 
or publishers much until some system is 
devised whereby those who really enjoy 
the strains of such a tune contribute in 
however small a way financially, to re- 
ward those who fashion this means of 
enjoyment. That is the nightmare which 
confronts orchestra leaded like myself, 
who depend on writers and ^publishers for 
songs. Our programs are no better than 
the songs, and the day thalt song-writers 
fail to come through with real hits for us 
to play for you, is the day our programs 
cease to be interesting, but I am wonder- 
ing just how long writers are going to 
continue to write and publishers continue 
to sort out, weed out, fix up and publish 
songs when all their effort does not even 
give them a livelihood! Something must 
be done, and done quickly, but it is a 
relief when such songs come along as 
this tune, which show that writers like 
Messrs. Turk and Ahlert are still exerting 

themselves to write tuneful hit songs. 

I hope their efforts will always be re- 
warded, as they are two of the most 
consistent writers in the business. 

Maybe I have forgotten to mention 
that the tune is a beautiful waltz, and we 
take 45 seconds for the chorus. 

IrJ. is another example of a tune which I 
personally felt that I could not do justice to 
vocally, and which I felt was one of the 
oddest rhythmical and musical contribu- 
tions to popular song-writing in a long 
time, and which I doubted would catch 
on with the public. My drummer, Ray 
Toland, however, came to me speaking 
most enthusiastically of the song. The 
title itself led me to believe that the song 
would be just the type of song it turned 
out to be — a sophisticated type of song, 
a mixture of blues, sophistication and 
rhythm. Its exceedingly odd tonality go- 
ing, as it does, to a half-tone below the 
note one would normally expect to find 
at the top, made me doubt very much 
that it would ever have any commercial 
possibilities, only to find it one of the 
most popularly played tunes on the air, 
and very often requested in my fan mail. 

Striving as always to be impartial, and 
to give credit in these articles to songs 
which really have merit as decided by the 
public, I felt I should say something 
about the song. 

Way down from the hot state of Texas 
comes Terry Shand, Larry Funk's pianist. 
You will remember Larry Funk as the 
boy with the Band of a Thousand Melo- 
dies, the boy whose little four and five 
piece aggregation entertained you so 
many times from the NBC studios, and 
who later followed Mr. Rolfe into the 
Palais D'Or Restaurant. Larry is one of 
the finest boys in the business, a very fine 
banjo player and leader of orchestras. 
Terry Shand, whom I have never had the 
pleasure of meeting, is very happy at the 
success of his first song. Possibly his 
Texas environment had something to do 
with the odd construction of the piece. I 
would certainly never have picked it for 
a popular tune, and I am still wondering 
why the public should decide to take it 
into its bosom. 

I rarely go wrong in my positive dec- 
laration that such a number would not 
catch on, as I rarely make such a definite, 
dogmatic statement, but it is pleasant to 
be surprised sometimes, especially when 
it is an agreeable surprise, because the 
publisher of the song, Abe Olman, is one 

of the men in the music profession whom 
I enjoy meeting and knowing. Further 
than that, his able and agreeable little 
assistant, Lon Mooney, has purchased a 
half-interest in the song, and I would like 
for Lon's sake, if no other, to see the 
song do big things in the way of financial 
remuneration to all concerned. 

1 WITH MUSIC. The singing Santlys, 
of whom I have spoken before, and who 
formerly were three, are now two. Joe 
Santly, whose unusually large eyes have 
given him the epithet of "banjo eyes," 
has left his brothers, Henry and Lester, 
and the other two boys are carrying on 
the business which has been going since 
1929. All three boys are old-timers in 
the profession, and good pickers of hit 
songs. It is no small wonder that they 
have picked a song by two boys who, 
though living out of town and writing out 
of town, have made a definite impression 
on Tin Pan Alley, such an impression 
that now Tin Pan Alley has become Ger- 
ald Marks and Buddy Fields conscious! 

Remick started it by taking a song that 
the boys wrote called "With You On My 
Mind I Find I Can't Write The Words," 
but it was not until "All Of Me" that the 
boys really demonstrated that they could 
write a hit song. They followed "All Of 
Me," which Berlin, Inc., published, with a 
lilting 6/8 tune which everyone hums after 
hearing it the first time, "You're The 
One, You Beautiful Son Of A Gun." 

During the stay of "Scandals" in De- 
troit, Mrs. Vallee and I journeyed out to 
Blossom Heath Inn, a very lovely and 
pretentious estate on the outskirts of the 
city, where very fine music under the 
able direction of Gerald Marks at the 
baton, and Buddy Fields at the drums, 
holds forth. In the lobby one finds a 
large one-sheet board with pictures of 
the two boys, and like Benny Davis's 
billboards in the lobbies of theatres at 
which he is playing, copies of the various 
songs they have written. The music was 
excellent, and both the boys were ex- 
tremely congenial, and spent a lot of time 
at our table. 

I was indeed happy to play for them, 
two nights later, on the Fleischmann's 
Yeast Hour, from Detroit, one of their 
songs which has since been running 
through my mind a great deal, "The 
Night Shall Be Filled With Music." I 
thought at first the song would probably 
be along the lines of "Lawd, You Made 
the Night Too Long," a sort of negro 
spiritual. It is strictly Tin Pan Alley in 
flavor, having nothing of the Oriental or 
negroid about it. 

Except for saying that it is a good, 
clean musical composition, there is very 
little to be remarked about it otherwise. 
I doubt if it will line the pockets of the 
boys with very much gold, but it makes a 
good spot on anyone's radio program. 
And for the two boys, who are a couple 
of the finest fellows I have ever met, may 
I sincerely hope that they have many 

big hits and realize a worthy reward. 

./was the night before Christmas, or, as 
I should say, one of the nights before go- 
ing on the platform to do our supper 
session at the Pennsylvania Hotel, when 
Walter Gross and I waded through a raft 
of manuscripts brought 
down for my inspection 
by Sam Wigler, one of 
the best -liked song plug- 
gers or music publishers. 
Most of the tunes 
seemed rather flat; one, 
however, caught my 
fancy, not only with its 
title, but with its dif- 
ferent melody. I have 
humorously referred to 
it as "the postman's 
song," or "the parcel 
post song," because it 
has the odd title, usu- 
ally seen on wooden and 
paper boxes, "Please 
Handle With Care." 

I, forgot all about it 
for several months after 
suggesting to Sam Wig- 
ler that his firm, Mario 
Music, publish it. It 
was not until we were 
playing Detroit on our 
road tour with "Scan- 
dals" that I heard the 
melody over the air, and 
asked myself where I 
had heard it before. 
Upon hearing the title 
of the song, I recalled 
the night at the Penn- 
sylvania, and immedi- 
ately programmed it on 
the Fleischmann's Yeast 
Hour, where it was 
played in due course of 
time on our first broad- 
cast in Chicago. 

Another song that will 
never set the world on 
fire, but one which helps 
to pass away some of 
the otherwise tedious moments of a radio 
program, and which will make exception- 
ally good fodder for the Lombardos, Ted 
Black and his orchestra, in fact, all such 
bands who play their fox trots in ex- 
tremely rhythmic style. You will surely 
have heard it by this time, and I hope 
my judgment will be vindicated. 

We take about one minute in the play- 
ing of each chorus, and as related above, 
it is published by the Mario Music Co. 

T AZY DAY. Jack Robbins again, in 
J— ' his attempt to Americanize an Eng- 
lish tune, to make it a hit. I am rather 
pained indeed when it is not possible for 
me to turn on what is popularly known 
in the music profession as a "rave" dur- 
ing the course of this article, but it looks 
as though I would be tied down to re- 
marks like "It's a great song — a good 

song — a fine song — or a song that is a 
credit to any publisher's catalogue." 
Happy indeed am I when I can turn on 
the words "terrific, gigantic, stupendous, 
and colossal," as I felt I could in the case 
of "Goodnight Sweetheart." 

I am rather afraid that song-writers 
are beginning to get disgusted with it all, 

Latest Portrait of Rudy Vallee especially 

photographed for Radio Digest by Harold 


realizing that when they have created 
something unusually good they get next 
to nothing for their efforts, since sheet 
music and records which formerly re- 
munerated them, bring in little or nothing 
today. With that situation all our songs 
seems to be in the mediocre vein, none 
of them crashing through for that tre- 
mendous smash. It has often been said 
that song-writers through vanity alone 
will always be spurred on to write great 
songs; I doubt it! Most of them have 
to live, and if they don't find a livelihood 
in song-writing, they will turn to some 
other profession, and use song-writing as 
a side-line, and no man ever succeeded 
doing great things when those things 


were side-lines. Song-writing is an art, 
just as difficult as painting a beautiful 
picture, or sculpturing a beautiful statue, 
and a song-writer has to give all his time 
and attention and thorough effort to put- 
ting over the job in hand. This, and 
only this, may account for the fact that 
most of our songs today are good songs, 
but not great songs. At 
any rate, may I offer the 
fervent hope that this 
situation will not always 
continue, or at least may 
we hope for some alle- 
viation in the unfortu- 
nate situation of small 
remuneration for the 
writer and publisher, 
which remedy will result 
in a stimulus to writing 
greater songs. 

Remember that a 
song which is played on 
many radio programs 
does not, by its being 
played, reward the writ- 
ers' pockets with one- 
tenth the amount as 
formerly when you pur- 
chased the sheet music 
and records of that par- 
ticular song. It is this 
almost free enjoyment 
of songs on radio pro- 
grams that is giving the 
writers and publishers 
gray hair, and when I 
campaign this way I am 
not campaigning for my- 
self, as I do not con- 
sider myself a dyed-in- 
the-wool song-writer, 
and the royalties I have 
received from songs are 
not half as important to 
me as they are to so 
many others who have 
no other livelihood. If 
the time ever comes 
when an announcement 
that musical radio pro- 
grams of the popular 
and dance nature will 
have to be discontinued due to a lack of 
material, then and perhaps not till then, 
will those of us who enjoy these pro- 
grams on the air realize just what popular 
music has meant to us. To be sure, there 
are those who abhor popular music, and 
would probably welcome that day; I do 
think, however, that they are in a minor- 
ity, as popular music is one of the few 
sources of solace and comfort to the 
masses in their idle moments, and even 
during their working moments. 

But to get back to "Lazy Day." It is 
a good song; having seen the English 
version, I can compliment Gus Kahn and 
his wife for having done a fine job with 
the American version. There is only one 
song which treated the word "lazy," to 
my way of thinking, almost super-per- 
fectly, and that was that masterpiece of 
Irving Berlin's, in which he went on to 


say. You may remember it: 
"Lazy, I want to be lazy 
I want to be out in the sun 
With no work to be done 
Under that awning they call the sky. 
Stretching and yawning 
While the rest of the world 
Goes drifting by, etc., etc." 

This song is better adapted to the 
muted brass playing in the short, jerky, 
staccato style for which the arranger of 
Mr. Lombardo's music is so undeservedly 
little known. We take one minute and 
fifteen seconds for the chorus, and surely 
by this time you know it better than I. 

7\jT Y MOM. How I ever came to be so 
■* *-*■ late in putting this song in the list I 
am at a loss to know. When I asked Miss 
Langfeldt, my secretary, to whom I dic- 
tate these articles between scenes in my 
dressing room, on the train, here, there 
and everywhere (I always leave them 
until the last minute, and a wire from 
"Radio Digest" tells me I have two days 
to get it in; then Evelyn and I jump 
around madly, trying to get together a 
satisfactory list) it must have been that 
I stayed away from anything that might 
suggest a maudlin, or flag-waving desire 
to mention anything associated with my 
mother's death. Possibly I am a very 
bad showman in this particular respect, 
and it is the one inconsistent spot in my 
showmanship, because it is a showman 
indeed who, on St. Patrick's day fills his 
program with Irish songs; likewise who 
plays, on November 11th, the songs 
which the A.E.F. came to know and love, 
and so forth, perhaps ad nauseum. Cer- 
tainly a showman should take cognizance 
of the word appropriate. 

The only reason I omitted Irish songs 
from my program, which came smack on 
St. Patrick's day, was simply that it takes 
a real Irish tenor voice, of the limpid, 
piping, cherubic quality that is Morton 
Downey's, to do justice to the songs of 
the native isle of his forefathers. Al- 
though I am half Irish myself, the Irish 
quality in my voice hardly befits me to 
sing the songs of Erin. Furthermore, the 
quartet of Irish girls on our program did 
an Irish song, and did it very beautifully. 
It was not in an attempt to be different 
that I failed to do any Irish songs, which 
fact brought a few scattered notes of 
criticism asking me why I failed to do so, 
as much as simply a realization of the 
fact that I could not do justice vocally 
to an Irish song, and for me to do an 
orchestral Irish medley would, by com- 
parison, be extremely pale, when the great 
Rubinoff either preceded or followed me 
on Sunday evening with his unusually 
great collection of Irish songs. 

For that very reason, and no other, on 
Mother's Day, rather than do just what 
a super-showman of the Broadway type 
would have done, and to attempt to 
arouse a sense of sympathy and pity for 
myself because of the loss of my mother. 
I purposely refrained from doing any 
mother songs, and it has always been 

with a sense of misgiving that I have 
sung this very lovely song which Walter 
Donaldson has written in the popular 

Shortly after my mother's death, some 
wag had the audacity to suggest that I 
was going to write a song dedicated to 
her. Possibly such a course of action 
might seem natural to some people but 
were I to read of such a thing I would 
only consider that the individual con- 
cerned was trying to capitalize upon such 
a tragic event. At no time has such a 
thing ever entered my head, and as I said 
before, I have always felt that there were 
those individuals who might think that I 
was singing the song, "My Mom" with 
such a purpose in mind. In fact, I re- 
frained from doing it for a long time, 
until the publisher of it finally convinced 
me that were I to mention it as Walter 
Donaldson's song, it would help our lis- 
teners-in to realize that I was singing it 
for the very same reason that I sing most 
songs — that they are popular songs that 
I believe the public would enjoy hearing, 
and not for any personal reasons. That, 
and that alone accounts for the fact that 
I probably failed to mention heretofore 
one of the greatest songs that master, 
Walter Donaldson, who has written so 
many others, has ever written. 

Bing Crosby has done it full justice, 
and I am happy to be a sort of run- 
ner-up on this particular song, which is 
one of the few songs which really thrills 

Harry Richman: "Do you think I'm 
getting over?" 

Sylvia Fox: "I hope so. Let me know 
if you don't." 

Harry: "I mean with the radio audi- 

me as I sing it. That is the test of a 
great popular song, and this song has that 
touch of the divine spark which no one 
can deny Walter Donaldson. He has 
done a beautiful . melodic and lyrical job. 
It has rapidly become a big seller, 
hence I feel I need hardly speak about 
it further to the readers of "Radio Di- 
gest," who, if they are radio fans, have 
heard the song many times. We take 
one minute in the playing of the chorus, 
and it is published by Donaldson, Doug- 
las & Gumble. 

^ am afraid I must take the count, and 
this time for the full stroke of ten. How I 
ever came to fail to describe to you the 
charms and beauties of a song which has 
been one of the most popular, if not the 
leading song of the East, Middle West, 
and West for the last several weeks is 
more than I can imagine. 

My good friend, Archie Fletcher, of 
the Joe Morris Music Co., comes forth 
again. Archie, as heretofore described in 
these columns, is the presiding potentate 
of one of the few one-room (figuratively 
speaking) office music publishing com- 
panies. For years he has guided the 
destinies of the Joe Morris Music Co.. 
which controls the copyrights of some of. 
the best known tunes of the past 20 and 
25 years. It was Archie Fletcher who 
made a lot of fame and money for Gene 
Austin, in giving him "Melancholy Baby." 
and many other Austin successes. At 
least, he made a lot of money for Bennie 
Davis and Joe Burke in the writing of 
"Carolina Moon," which subsequently 
proved a fine theme song for Morton 
Downey on his Camel Hour. 

I am more than happy, if for no other 
reason than for the two gentlemen who 
wrote "Somebody Loves You," and who 
also provided one of the most beautiful 
waltzes it has ever been my pleasure to 
sing, namely "When Your Hair Ha? 
Turned To Silver"— Messrs. Charlie To- 
bias and Peter de Rose, who of course is 
best known as the husband of May Singhi 
Breen, and the voice that blends with 
hers on their program. 

We always played it brightly — 36 sec- 
onds to the chorus, though of course, like 
any ballad, it is better, from the stand- 
point of bringing out the real value of the 
song, to play it slowly. 

CAME OLD MOON. Out here in Chi- 
^ cago is an old gentleman, of the music 
profession, who has really been a tre- 
mendous success; — F. J. Forster of the 
Forster Music Publishing Co., with head- 
quarters in Chicago for years, and branch 
offices in other parts of the country, is 
another one of those men whose offices 
were always small and unpretentious, giv- 
ing rise to the expression, "He carries his 
office in his hat," but he has been the 
publisher of some of the music world"? 
greatest tunes, such as "The Missouri 
Waltz," the story of which I will be very 
happy to unfold some time should enough 


readers care to read it, as it reads like 
fiction, though it made him several hun- 
dreds of thousands of dollars; likewise 
some of you may remember the "Naughty 
Waltz," and "It Ain't Gonna Rain No 

I had the pleasure of meeting this quiet 
man several months ago, when in New 
York he visited me at the Pennsylvania. 
He promised at that time to send me 
the history of some of his greatest songs 
as material and notes for lectures I in- 
tend to give some day on the history of 
some of the most interesting songs ever 
published. This same Mr. Forster pub- 
lished one of my first songs, namely "I'm 
Still Caring," which also did good busi- 
ness for both of us. From time to time 
he has mailed me various tunes, hoping 
that I would like them well enough to 
feature them, and at last I believe he has 
done it. 

There have been many songs with this 
same title, but few of them as interesting 
and as well written, especially from a 
balanced lyrical and melodic standpoint, 
as "Same Old Moon." Messrs. Ed Rose 
and Billy Baskette, the latter being a man 
who has undeniable talent to crash 
through for a really big hit, are respon- 
sible for the song. Besides providing 
me with a song which it was my great 
delight to sing during the summer of 
1929, "That's When I Learned To Love 
You," Billy Baskette is known in the 
past for such great tunes as "Waiting 
For The Evening Mail," "Hawaiian 
Butterfly," "Goodbye Broadway, Hello 
France;" in other words, he is a real 
dyed-in-the-wool song-writer. He seems 
to have been very quiet since his last 
big hit, although every now and then he 
tries his hand at fashioning another tune. 
This, I would say, is the best tune he 
has done in a long time. Certainly Billy 
Baskette was more than responsible for 
some of the charm that I have found in 
"Same Old Moon." We are playing it 
both as a waltz and a fox trot on this 
coming Thursday's program, and I hope 
by the time this article reaches you you 
will have heard it many times. 

Mr. Forster has been rather quiet since 
retiring actively from the business and 
closing his New York branch which was 
headed by Abe Olman, who now has his 
own music company, but this shows that 
he is certainly on the alert for good tunes, 
and I am grateful to him for having given 
me a tune that I can justly reprise on 
our Thursday evening hour. 

A song that will probably hardly sell 
enough copies to pay for the printing, 
though I will be happy to be agreeably 
surprised. Larry Spier, of the Famous 
Music Co., is publishing the song mainly 
because it is one of the most beautiful 
ballads he could ever have included in his 
catalogue. A bit too tricky in melody 
and construction to ever achieve a sen- 
sational popular success, the song never- 
theless has made a very wonderful duet 

for Miss Irene Bordoni and myself, 
enough so that letters have poured in 
requesting a repetition. I suggested to 
Irene that she write me a French version, 
which she did, and which we divided be- 
tween ourselves and rendered in Detroit. 

Two of the writers are well-known to 
song lovers — Sam Coslow and Pierre Nor- 
man. Coslow and Norman collaborated 
in the writing of Maurice Chevalier's 
great hit, "You Brought A New Kind Of 
Love To Me," and each has been heard 
from independently since. Pierre Nor- 
man, whose mind quite naturally inclines 
toward the better type of song, has writ- 
ten what might be termed a "piece of 
material," which we have featured sev- 
eral times on our Fleischmann program, 
namely "Give Us This Day Our Daily 
Bread," never really popularly published. 
Coslow is better known for his "Just 
One More Chance," which Mr. Crosby 
brought into well deserved prominence. 

Here they are in the writing of one of 
the better types of songs which, as I say, 
will probably hardly repay them for their 
effort if they wrote it in the hopes of 
financial remuneration. Knowing both 
gentlemen, I am sure that their's will be 
a great happiness in the fact that the 
song will be featured by many of the 
oustanding radio artists. 

There is nothing really typically French 
in the flavor of the lyrics of the song, but 
• it is a song which I certainly enjoy do- 
ing, and which I found running through 
my head for many days after my first 

Harry Richman: "How do you like my 
fiddling, Rubinoff?" 

Rubinotf: "Mower and mower." 

hearing of it. It has a rather high pas- 
sage in the middle, which was made easier 
by several of us reconstructing it and 
making it less "rangey." 

The mention of this song is assuredly- 
one of the best proofs of the fact that 
songs described herein are not those nec- 
essarily which are destined to become big 
hits; rather songs which I feel are worthy 
of mention from one standpoint or an- 

J Thus we begin and end our article of 
this month with a waltz, and in mentioning 
this waltz it is necessary once again to 
pay tribute to the wisdom of Archie 
Fletcher. Believing that Bennie Davis 
and Joe Burke must know how to write 
waltzes inasmuch as both have independ- 
ently written some of the biggest hits in 
the country, and together were respon- 
sible for "Carolina Moon," Archie Flet- 
cher has commissioned them to write this 
waltz, which haunted me for days after 
my first broadcast of it in Detroit. I 
doubt very much if it will be one of the 
smash waltz hits of the season, though 
again I say I would be willing to be 
agreeably surprised, but it is a waltz of 
unusual merit. Its construction is rather 
intricate, which may or may not account 
for the fact that I find it a little above 
real tremendous mass appeal. The most 
successful waltzes have been the simplest. 
or waltzes like "When Your Hair Has 
Turned To Silver," founded on a definite 
popular melody such as the "Blue Dan- 

This is really a fresh thought in mel- 
ody, though not an unusually odd lyrical 
thought. The same thought of the loved 
one who is lost for the moment, only 
being with us in dreams, has been incor- 
porated in many songs; witness Isham 
Jones' "I'll See You In My Dreams." 
As in previous issues of "Radio Digest," 
I have pleaded for more waltzes, as I 
honestly believe they have been the big- 
gest sellers and the most popular tunes 
with those who listen in, and I was in- 
deed happy to receive this waltz from Joe 
Morris, and after running it over silently 
in my mind, to find it worth while for a 
spot on our programs. 

Certainly for me its melody is a trifle 
more outstanding than the lyrics, though 
Joe Burke handled his lyrical proposition 
very ably. It is very possible that he 
may have even had a part in writing the 
melody, as both he and Benny Davis are 
versatile enough to write either or both. 

I am still of the mind that it is the 
optimistic songs which most of us want 
to hear, and one cannot help but feel a 
bit melancholy as this tune is played, as 
it has a melancholy melody and wedded 
to it is a very melancholy lyric, which, 
after all, is one of the requirements of 
good song-writing. Whether the song is 
a tremendous hit or not is beside the 
point; it is an example of good crafts- 
manship, and if is a pleasure to end this 
month's article with it 


Broadcasting from 

The Editor's Chair 


EVAMP. "You are sitting on top of the world NOW; 
but Old Debbil Depression is gwine get you just the 
same as it has everyone else," counseled a Midwest- 
ern editor to some high executives of one of the chief broad- 
casting chains a few months ago. They may not have paid 
this outsider's comment much attention. But his prediction 
has come true. They may remember he said further, "you 
will have to go into the advertising field in direct competi- 
tion with the printed publications — and do some real selling." 

That time has come. Time on the air usually is booked 
for many months in advance. At the end of May one chain 
didn't have a single account in sight for August. What can 
be done about it? 

For one thing, program production can be taken out of its 
present chaotic condition. Broadcasting is a mechanical job. 
Advertising is a merchandising job operating through all 
publicity mediums. The Program, which is a show, should 
also be considered as a highly specialized job in itself. At 
present it seems to be a side line both for broadcasting and 
the advertising agencies. 

Let us have programs produced by specially created pro- 
gram production corporations. Let us have great periodicals 
of the air — daily, weekly, monthly. Suppose we have a 
company to produce The Homecircle Weekly, "issued" every 
Wednesday from 7 to 11 P. M. The broadcaster sells a 
franchise on that period to a well financed corporation for 
a long period of years, say ten to fifty years. The Home- 
circle Weekly Production company has a top notch staff to 
mould that four hours into a perfect entity with proper 
balance and unity from end to end. At well considered inter- 
ludes would come appropriate "pages" for advertising lines. 
But the "copy" would conform to The Homecircle standards. 
Advertisers would have the service and facilities of the pro- 
duction company talent and direction. Credit and Trade 
names could be introduced without detracting from dominat- 
OUT OF BLURBS. Entertainment for the Homecircle would 
have something for each member of the family, and no repeti- 
tions. When Dad's period ended he would hear about tobacco 
or shaving cream. Mother would hear about those breakfast 
foods after her section ; Sister the cosmetics and Bud the 
athletic goods. 

PERHAPS as the Homecircle Production company pros- 
pered it would branch out into other productions, and 
negotiate other blocks of time on the Coastocoast Sys- 
tem — certain types of production to interest certain classes 
of our great public. 

At any rate, this thought might be one helpful step toward 
keeping the advertiser interested, because first you must make 
sure you have your listener. Getting the listener's ear requires 
a highly specialized technique — and the very best of them 
do not always succeed. It is no job for amateur producers 
even if they do carry a pot of gold to spend on talent. 

While the majority of listeners have come to understand 
that advertising with programs is absolutely essential, there 
are some who find ready ways and means of venting their 

spleen against it. They seem to 
feel, and sometimes actually argue, 
that inasmuch as they have spent 
money for a receiver they are by 
that investment entitled to have 
all their programs free. It is use- 
less to point out to them that they 
have bought an instrument for a 
price — value for value; or that it 
would be as logical to expect the 
phonograph record makers to supply free copies of all their 
records to every owner of a phonograph. One man wrote to 
a New York newspaper recently that he made it a point not 
to buy any product that he heard advertised on the air, in 
spite of the fact that he enjoyed listening to the programs 
until the advertising came in. Of course this pernicious type 
is a rare specimen or we would not have any of the fine pro- 
grams (even with credits) for which America is famous 
throughout all the other nations of the world. Reasonable 
and inoffensive advertising certainly does produce astounding 

With experts to produce good entertainment and control 
the advertising blurbs radio broadcasters will quickly find 
their way out of the troubled waters and Old Debbil De- 
pression will have to go scratch himself so far as they are 

8 there 
all over 

1ISTENERS VOTE. On the morning of June 
appeared on the front pages of newspapers 
•^ the United States an article of which the 
leading paragraph in the New York Times was typical: 

Des Moines, Iowa, June 7. — Senator Smith W. Brookhart, 
running for renomination for the Senate in yesterday's Republican 
primary, appeared tonight to have been decisively defeated by 
Henry Field, 61 -year-old seed merchant of Shenandoah. 

You Gentlemen of Congress, there is your answer. You 
who have been pushing radio around as your political play- 
thing should give the matter heed. Mr. Field is unequivocally 
and distinctly the radio listeners' candidate. 

Henry Field is owner, manager, and chief announcer of 
Station KFNF, Shenandoah. Furthermore, he enjoys the dis- 
tinction of brazenly using his station to advertise the goods 
he has to sell. Four years after he installed KFNF his annual 
turnover jumped from $600,000 to $2,500,000. And if you 
think people don't like his selling on the air how do you 
account for that?. He now conducts a big mail order busi- 
ness and broadcasts prices. "Why, that's the most important 
part of my story," he tells interviewers. "The price is the 
climax. It's what they all want to hear. What would a mail 
order catalog be without publishing its prices for goods?" 

He has had all kinds of advice on how to run his station. 
He has been told how terrible it is to brag about his bargains 
in prunes and overalls. Desperate efforts have been made 
to try and force him to see reason. But he stuck right to the 
job of giving his listeners the kind of broadcasting he knew 
they wanted, and somehow or other he has managed to keep 
on going. You may infer he wouldn't rate so high in a big 
city. But don't be too sure. Humans are only human wherever 
they are and Field's appeal is something below the surface of 
jingo and jazz. The teeming millions love sincerity in their 
leaders, whether it be a Henry Field or a Calvin Coolidge. 
Look out for your listener back home, Mr. Congressman, he's 
a touchy fellow. Be careful he doesn't put you with Mr. 
Brookhart — on the outside looking in. Ray Bill 



"I Would Never 'sell' My Title! 






SHE is a member of the 
family of nobles identi- 
'fied with the" crown of 
Italy, Her Highness the Coun- 
tess . Olga Medolaga-Albani. 
Yes, the soprano you hear 
every Sunday night on the 
Buick Hour. 

"My title? No, it's never 
been an open sesame to me in 
radio," she laughed. "Of 
course, I am honored by the 
privilege of wearing it, but I 
would consider it an insult 
both to the title and every- 
thing it represents and to my- 
self if I were ever guilty of 
using it for business purposes!" 

And that seems to be about 
as fairminded a way of look- 
ing at a foreign title as you 
would find. 

Her entry into radio was 
not different from the usual 
performer. She had to over- 
come her burning indignation 
at tedious auditions and broken 
promises, just like any novice. 
It was not a smooth, easy path 
cushioned by the mention of 
"Countess" that one would be- 
lieve. Although she doesn't 
admit it, difficulties often ap- 
peared that could not be easily 
smoothed out because of the 
stamp of aristocracy she bears. 
She had influential friends, 
opera and concert artists who 
were willing to assist her . . . 
but so have thousands of oth- 
ers who have learned that ability in the 
field of entertaining an invisible public, 
and not personal influences, decides suc- 
cess or failure. 

I asked Countess Albani if, when she 
started forth on her career, extra cour- 
tesies were extended ... if she was 
greeted with salaams and red velvet car- 

"Thank goodness, no!" she replied. 
"Remember I was acting in a purely 
private capacity, and the fact that I was 
a countess was incidental to the fact that 
I was a singer. I should have been hor- 
ribly embarrassed if it had been other- 

The Countess Albani does not ab- 


Countess Albani 

jure her title. It is rightfully hers and 

she wears it like a true gentlewoman. In 

fact, it belonged to her long before she 
endeared herself to radio. 


'LGA ALBANI was born 
in Barcelona, Spain, in 1903. She was 
christened Olga Hernandez. In 1908 she 
changed her address to America and she 
has been here ever since. Nine years 
ago . . . the man she loved and mar- 
ried entered her life. He. incidentally, 
was a Count . . . and she became 
Countess Olga Medolaga-Albani. The 
title had no significance ... the man 
had all. as time has proved. 

It wasn't until after the 
birth of her son, however,' that 
her friend Sophie Braslau per- 
suaded her not to waste the 
beautiful soprano voice she 
possessed. She had always 
sung . . . ever since she 
could remember. But in those 
early days her father and 
mother had been her only 
audience, with perhaps an 
occasional performance graced 
by the presence of a brother 
and sister. When her friend 
mentioned "sing for the pub- 
lic," Countess Albani refused 
— point blank — because she 
thought it meant the stage. 
Later, after much persuasion, 
came the agreement to try for 
an audition at NBC. Here, 
her clear soprano and her su- 
perb rendition of songs brought 
that station's artist bureau to 
her side with a pen and con- 
tract. Then came the usual 
routine of auditions for pos- 
sible clients, followed by her 
present successful commercial 
programs. She has been on the 
air three years now . . . and 
several offers from producers 
for prima donna roles have 
left her unmoved. She is es- 
sentially a radio artist. 

Now that she has embarked 
on this singing career, she is 
giving all her energy to the 
perfection of her voice . . . 
• and the pleasure it affords her 
listeners. She chooses her songs carefully 
and all her emotion and her great dra- 
matic sense rides freely through the in- 
terpretation of her songs. She is uncon- 
sciously a superb show-woman . . . she 
is a sincere performer. 

But often she wonders if her publii 
receives her as warmly as they do others, 
because of her title. If they feel this 
woman of blue blood is not one of them 
— and she is. she will vehemently assure 
you — then shouldn't the title be dropped 
in favor of the public? 

Countess Albani learned that her title 
certainly did not prove a magic key to 
the sealed door of radio stardom: hard 
work and perseverance opened the way 


S^ERM AN Y. The frankfurter of 
\J" Frankfort-on-the-Main in Germany 
is the pride of the hot-dog kennels. Its 
coat-of-arms is golden mustard on a roll, 
azure, and its pedigree goes further back 
into history than the Spanish Armada. 
Coney Island, Revere Beach and the 
White City may boast of their hot beagles, 
but they cannot bark in the same dog 
show with the original Frankfort. 

Of course there are items other than 
frankfurters and the culinary master- 
piece of frankfurters and sauerkraut to 
be obtained in Frankfort-on-the-Main. 
You have your choice of Gefulter 
Schweinskopf, Westfalischer Schinken, 
Gefultes Spanferkel, Netzroulade Galan- 
tine and Sulzpastete Schinkenroulade. 
But when your exhausted nose catches 
the aroma of Frankfurter Wurstchen mit 
Sauerkraut und Kartoffelbrei, you take a 
new lease on life. I remember some 
years ago The American Hotel Associa- 
tion made Frankfort a stop-over during 
their convention. In this city a dinner 
was given them. It was the most suc- 
cessful banquet of the tour, and Director 
Schmoll, of the Frankfurter Hof, was 
amazed at his guests' capacity for boiled 
hay and canines. One lady, name with- 
held because of her social position, ate 
four pairs of hot dogs, which is a big- 
enough team to draw a sledge from Nome 
to Sitka. The Frankfort frankfurter al- 
ways arrives in pairs, like two dogs in 
one collar. It is a beautiful ornament 
of the sausage maker's architecture, and 
has a bulging forehead and 
most intelligent expression. 
I do not blame the lady for 
scoffing four sets of frank- 
furters, for Goethe was born 
in this town and achieved 
his greatness on the same 


* * * 

Germany abounds in Bads. 
Now don't misunderstand me, I am 
merely telling you that Germany has its 
share of the nearly a million mineral and 
mud baths which feature Europe. Ger- 
many's Bad Nauheim is one of the most 
famous of these baths, any one of which 
is guaranteed to remove paint, tar and 
pitch from the clothing, and moles, blem- 
ishes and warts from your constitution. 
The blemish doesn't have to be on your 
face. It can be in a radius of thirty 
miles and these wonderful Bads will make 
it worse. You see all kinds of Europeans 
headed for some mysterious Bads in the 
Ural or Persian Mountains, and very often 
you spot rich Americans looking in Eu- 
rope for the health they lost in America. 
You cannot recover anything when you 
look for it in the wrong place, but the 
Bads spring up every week. Somebody 
hears of a new one in some inaccessible 
region and the procession of hypo-invalids 
marches off toward it in a body. 

They are expensive, as the Bad hotels 

'It's an art," says George, 



Cjreorge Ivector 

GEORGE RECTOR broadcasts on the 
OUR DAILY FOOD program which may 
be heard over the dual NBC networks, 
each weekday morning with Colonel 
Goodbody and Judge Gordon, 8:45 A.M. 
WOC; WHO; WOW; WDAF; and 9:30 

are very good, if you know what I mean. 
I have always gotten a laugh from some 

of the typical advertisements of these 
health resorts. Some of them actually 
read like this: "Remarkably pure atmos- 
phere and perpetually mild climate. Fine 
for liver complaints, horseback riding, 
nervous troubles, dandruff, stomach 
trouble and golf" — which in my estima- 
tion just about covers all the ills the 
flesh inherits. Continental society makes 
these Bads the rendezvous for the Euro- 
pean Who's Who, and I have a notion 
that the most popular liquids which come 
out of the earth in the vicinity of the 
curative Bads are the juices siphoned out 
of the wine cellars of the Rhineland. As 
a citizen of a dry republic I had the post- 
humous pleasure of looking at the big 
tun in Heidelberg Castle. This vat con- 
tains 221,726 quarts of wine. I aimed 
my camera at it and it obligingly sat for 
a portrait, but I assure you I could not 
secure its autograph. 

If you aren't a habitue of the road- 
side hot dog stand, or if the thought of 
a tenderly toasted frankfurter doesn't 
tickle your palate, how about Gerfultes 
Spanferkel im Backofen gebraten? Which, 
when spelled out in alphabetical soup, 
means suckling pig baked brown in the 
oven. Pork is the food mainstay of the 
Fatherland. Take the porcine pet away 
and you have deprived them of the stuff 
of life. It is served in a thousand dif- 
ferent ways, and the Germans should be 
thankful to the careless Chinaman who 
burned down his house many centuries 
ago and accidentally roasted a pig. In 
dragging the pig from the in- 
voluntary funeral pyre, the 
Chink managed to burn his 
fingers on the piggie's smok- 

L ing hide, and. when he licked 

W those digits in an effort to 

*- assuage the pain, his palate 

vibrated with a new gastro- 
nomical melody. He had 
discovered roast pig. He 
burned down seventeen more houses be- 
fore they discovered him, and there was 
a pig tied in each house. Instead of 
being punished, he was rewarded by 
being made Pig Scorcher for all Mon- 
golia, for he packed the jury by staking 

them to their first dish of roast porker. 

* * * 

Nowhere in Europe does prosperity 
shine as in Berlin. The town has gone 
through the mangle of circumstance, the 
wringer of panic, and has been under the 
hot iron of civil warfare. The result is 
that Berlin has emerged freshly starched 
and laundered and is today the one bright 
spot in Europe. Paris, Vienna, Rome and 
Leningrad have all been through the same 
hazing, but only Berlin shows no ill ef- 
fects. This statement is no press agentry, 
even though Berlin hopes to snare its 
portion of the 500,000 American tourists 
who will flock over here for the summer 
Americans are not the only suckers: 
tourists of all nations get the hook. 

D. Thomas Cur tin 
digs into New 
York police files 
for dramatic facts. 

1 olice 1 hrillers ! 


By Tom Curtin 

THE police detective dramas which 
I am doing on the Lucky Strike 
hour over the NBC Red Network 
are true. The plots, the tricks, the 
clues, the methods of solution, I take 
straight out of the cases on police record. 

Before investigating the never-end- 
ing day and night battle in New 
York, between the sources on the 
side of the law, and those who try 
to uplift the law or batter it down, 
I had a feeling that nowhere in the 
world would any individual detective 
have to use his wits and ingenuity 
to the extent that he does here. After 
digging into the detective methods 
in hundreds of cases and knocking about 
with detectives on the job, I find the police 
task even greater than I had supposed — 
and the more I see from the inside the 
problems of these New York detectives, 
the more I admire their accomplishments. 

Some of the most interesting dramas 
that I plan to write are cases that may 
not be known to the public at all. For 
example, two years ago fires broke out 
and bombs exploded on barges in the 
harbor. Who was doing it? Week after 
week, and month after month the de- 
tectives assigned to the case worked 
quietly. There wasn't a thing to go into 
the papers as clue by clue they ferreted 
out four of the most able and cunning 
imported communists in the world. Two 
years of patient, steady, under-cover 
work, with death to face on many oc- 
casions, and finally the four men are 
brought to trial, heavily sentenced, and 
deported. On no one day is there a big 
newspaper story, but the whole thing 
added together makes a big drama. 

There is a greater variety to the New 
York detectives' work than the general 
public might suppose. There are cases 
in which some outstanding detectives are 
sent all over the world. And there is a 
variety in the work of the city itself, 
which calls for the development of squads 
where men become highly specialized, as 
in the case of the narcotic squad, safe 
and loft squad, bomb and alien squads, 
jewelry, forgery and the like. The water- 
front detectives, with their fast launches, 
have a particularly romantic, adventur- 
ous lure for many. 

Modern detective work is naturally 
highly organized, and there is consider- 
able cooperation between New York and 
the police departments throughout Amer- 
ica and to varying extents abroad, and 


yet the most successful detective must 
be an individual, with initiative and abil- 
ity to cope with situations on his own, 
and pit his ingenuity against the ingenuity 
of the criminal. Some of the tricks used 
in the battle of wits between the crook 
and the detective may seem to belong to 
fiction rather than real life, but I assure 
my listeners that I have come on some 
things in these actual cases to rival any- 
thing in the best detective fiction. 

IV-Lany times as I work on 
these series I find myself wishing that my 
good friend, Sir Arthur Conan Doyle, 
was still living. I formed a warm friend- 
ship with the creator of Sherlock Holmes. 
One of the truths which I hope my 
listeners will get out of these Tuesday 
night dramas is the patience, persistence 
and tenacity shown by some of these 
detectives in running down a criminal. 

yOUR Radio Digest picks the 
comers. Last March it stated: 
"Somebody one of these days will 
wake up and sign Tom Curtin for 
his Thrillers. They are real Top 
Notchers." Here is the answer. 

When a man connected witn tne police 
force goes wrong, he gets plenty of pub- 
licity. I want to give some publicity 
right here to the wprk I have seen down 
at Police Headquarters, where inspectors 
and the men under them do any amount 
of extra work, without any thought of 
anything but a well handled job. 

And now a closing word about the 
police commissioner of New York City, 
Edward P. Mulrooney. In my interna- 
tional newspaper work and general ad- 
venturing, I have seen, first-hand, the 
workings of more than a dozen armies 
and their leaders, Scotland Yard, and 
some of the continental police systems, 
but I have never seen a body of men 
more thoroughly respect their leader than 
the men on the New York police force 
respect Commissioner Mulrooney. They 
know that he knows the ropes, that he 
came up through the ranks, and that he 
is where he is through honesty and out- 
standing ability. They know that he 
did not hesitate about plunging into the 
North River and swimming after a dan- 
gerous criminal, that he went alone into 
an apartment, gun in hand, to take two 
armed men, and that he led the attack 
against Two-gun Crowley last year up at 
West Ninetieth Street, going deliberately 
into the line of fire. There is a joy in 
working under that kind of a leader. 


\oice of the 

Buddy Rogers and Jeanette Loff 


A/TAY I congratulate Radio Digest upon 
- LV -*- its splendid and informative article 
about Buddy Rogers in the May issue. 
Buddy Rogers is, I think, one of the outstand- 
ing artists of the radio. His versatility is 
amazing. He plays innumerable musical in- 
struments unusually well, he sings with a 
refreshing verve and spontaneity, and he has 
an orchestra which is most agreeable to the 
ear. And, what is more, he is, I am sure, a 
young man, who, like Rudy Vallee, deserves 
every success he may achieve. — Charles 
Schaub, 708 Baldwin Avenue, Detroit, Mich- 


I HAVE just finished my first copy of 
Radio Digest and I found it very interest- 
ing. The first time I heard of it was one 
Wednesday night when I heard Nellie Revell's 
program on the air. I like the section called 
"Voice of the Listener" but I think one 
reader is very unfair. That is F. H. L. of 
Petersburg, Fla. Why ? Because of his letter 
concerning Buddy Rogers. I also heard 
Buddy's debut, and enjoyed it as almost 
everyone did who heard it. But, F. H. L., 
is it just to judge anyone by their first ven- 
ture in any field, particularly before the 
fickle "mike"? I think Buddy deserves a 
good deal of credit for the way in which he 
is making good in the field of music. Here 
is something I would like Radio Digest to 
answer, Is Buddy going back to the screen?* 
I hope he doesn't desert the screen altogether 
for he is missed by his many fans. Good 
luck Radio Digest. — Clark Reed. Peabody. 
Mass. *No plans at present. Editor. 


I HAVE read the Radio Digest almost since 
the first copy and have enjoyed every 
copy during that time. However, I have 
not seen a story on Joe Sanders and his 
Coon-Sanders orchestra, or my favorite 
maestro Cab Calloway. Why not give us a 
story on these two? I enjoyed your story 
on the Mills Brothers and the one on Wayne 
King very much. Ybur idea of printing the 
pictures of the country's leading dance lead- 
ers was a good one. I got all but one right 
without looking at the names on the other 
page. Also why not give us more pictures 
of entire orchestras. — Martin Driscoll, 266 
Danforth Street. Portland, Maine. 


IT WOULD not seem right to call you 
Miss Revell, to the children and I, you 
are just Nellie. This note is to let you 
know how we love your program. My 
two boys are nine and fourteen and they 
wait up till eleven every Wednesday night, 
to hear you tell them of this and that 
radio star. To me, aside from the interest 
in your guests, your voice makes me feel, 
after all, I'm not alone but have some one 
whose voice conveys a lot of things. The 
children love and enjoy Radio Digest. 
Thank you for your nice picture in Radio 
Digest. It holds a prominent place in my 
living room. — Mrs. Martha Hassel, 437 Del- 
aware Street, Sharon, Penna. 


I JUST want to say a few words of ap- 
preciation in regards to your dandy in- 
terview with Frank Parker. I have just 
received my copy of your magazine and as 
soon as I receive it I always glance through 
to see if I can find any mention of this Mr, 
Parker. I subscribed to your magazine last 
October and this was the first time I ever 
saw his name appear — so you can see that 
I did appreciate the article as well as the 
splendid picture. In your "Voice of the 
Listener" department you also published a 
letter that I had written in — requesting 
some news on Frank — and I sure am glad 
that the letter was given such a prompt 
reply. I do greatly enjoy your magazine 
as it is very interesting and I sincerely hope 
that all the future numbers shall be just as 
good. — Frank E. Berge, 3936 N. Marshall 
Street, Philadelphia, Pa. 


A/fAY I make a debut, and compliment 
-•-"-"- you on a very nice publication? I 
find it very interesting and this department 
is by no means least entertaining. Perhaps 
some of its contributors are over-zealous or 
unjust in their criticism, but the contro- 
versies thus caused are amusing. One thing 
of late has occurred to me. That is the 
superior showmanship evidenced by the pro- 
gram directors of the Columbia network. 
Not that the National chain isn't doing a 
fine thing in its Metropolitan broadcasts 
and many other fine programs. However, 
in the more popular field they seem to be 
slipping. They have failed to build up any 
striking figures from any of the newcomers, 
some of whom seem very talented and pleas- 
ing. A short period of sustaining programs 
and they are dropped before they have been 
heard by many. This doesn't seem to be 
necessary, and the ultimate success of for- 
mer National girls namely, Kate Smith and 
the Boswell Sisters should prove this. There 
have been other more recent errors in judg- 
ment, I believe. One, the dropping of Sylvia 
Froos; another, the transfer of Lanny Ross. 
Both had radio personalities and should 
have reached the top with a little plugging. 
Then there is Russ Colombo who seems to 
have got there pretty much on his own. 
His fans are many and he seems to rate on 
a par with Crosby in popularity contests, 
yet NBC seemingly shows little or no sup- 
port. On the other hand Columbia keeps 
Crosby before the public eye, on sustaining 
programs, etc., continuing to build him up. 

I am perfectly willing to admit that I am 
wrong but this is the way the things look 
to the layman. Rudy Vallee is, of course, 
outstanding but the credit for showmanship 
should be his alone. He is a remarkable 
young man. Again, my congratulations on 
a differently interesting magazine. — C. L., 
Augusta, Me. 


OERE is our contribution to the VOL 
- L - L column of your excellent magazine in 
the form of an All Star Dance Orchestra. 
We think that this would be the finest pos- 
sible combination in the country if it were 
organized into one dance orchestra. There 
would be no violins in this aggregation and 
also no conductor, as all its members would 
play some instrument — for co-directors, how- 
ever, we nominate Carleton Coon and Joe 

All Star Dance Orchestra 
Piano — Joe Sanders 

(Coon-Sanders Orchestra) 
Banjo — Harry Reiser 

(Cliquot Club Eskimos) 
1st Trumpet— Louis Panico 

(Louis Panico's Orchestra) 
2nd Trumpet — Victor Lombardo 

(Guy Lombardo's Orchestra) 
1st Saxophone — Carmen Lombardo 

(Guy Lombardo's Orchestra) 
2nd Saxophone — Wayne King 

(Wayne King's Orchestra) 
3rd Saxophone — Art Kassell 

(Art Kassell's Orchestra) 
Trombone — Rex Downing 

(Coon-Sanders Orchestra) 
Bass — Elmer Krebs 

(Coon-Sanders Orchestra) 
Vocal — Joe Sanders 

Why not a nation-wide poll for dance 
orchestras only conducted by Radio Digest? 
This would create real interest and, if run 
under the same conditions as your other 
contests, would be absolutely fair. — Phil 
Clarke, Jr., Charles S. Arms, Barton Cam- 
eron, Asheville School, North Carolina. 


THANK you for saying such nice things 
in your Editorial about our "Cheerio". 
I think his wishing to bar his identity and re- 
main unknown should be respected. — Mrs. 
Osborne Smith, Franklin, New Hampshire. 


I AM sending a bouquet for my favorite 
announcer Bob Elson from WGN, the 
Chicago Tribune Station at the Drake Hotel 
Chicago, Illinois. I think he is number one. 
— Mrs. Addie M. Hunter, 2406 Seventh Ave- 
nue, Moline, 111. 


WE READ your magazine and enjoy it 
very much. We just wonder why you 
have had no news in it about Harry Kogen 
and his boys who play over NBC from the 
Chicago Studios. Thanking you for the 
pleasure I have enjoyed from your maga- 
zine, and hoping sometime to read about the 
above mentioned. — R. H., St. Joseph, Mo. 

i s t e n e r 


/^LARENCE WHITEHILL hit the nail 
v> on the head in his article "Why Not 
Prohibit Vocal Atrocities." He puts our sen- 
timents into words. Such expressions as "the 
unskilled one finger pianist," "the illiterate 
lyric writer," "the so-called singer who barks 
and wails" are perfectly descriptive of some 
atrocities put on the air. But how can we get 
the radio powers that be, to understand how 
easy it is to cut the radio off? I wrote the 
General Manager of Columbia some few 
weeks ago, pointing out how we in our 
family deal with the trash — we switch it off ! 
But the General Manager never acknowl- 
edged my letter — probably because it stung. 
We listen to those programs that promise to 
be worth while. If we enjoy the programs 
we frequently write and express our appre- 
ciation. Please express to Mr. Whitehill our 
appreciation of his attitude and article. — 
William E. Bryant, 4606 Thirteenth Street, 
N. W., Washington, D. C. 


LJERE are a few requests, bouquets and 
"• suggestions for your very swell magazine. 
First, I want to compliment you on your 
"Letters to the Artist" feature which is the 
best idea you've had since I've been reading 
Radio Digest. Couldn't you cut out some 
of that other stuff which is not essentially 
pertaining to radio and have the letters of 
two stars each month instead of one. (But 
not cutting down on the length of either.) 
Only twelve a year seems like such a few 
when there are so many whose fan mail 
would be very interesting. I should like a 
peek at the letters received by Kate Smith, 
Ben Bernie, Ted Husing and Graham Mc- 
Namee. This next sounds silly, I suppose, 
but I think there must be others as curious 
as I. During the course of an evening's 
radio entertainment we hear five or six se- 
lections which are played "by special per- 
mission of the copyright owners". I think 
an article, by someone who knows, would be 
of interest to many of us who haven't any 
idea of what steps must be taken in order 
to get permission to play the piece. We no- 
tice several readers have sent in lists of their 
favorite orchestras, singers, etc. Why not 
have a list some month, or for several issues, 
and let your subscribers vote on them. And 
why not add a space for the fans to vote 
on the one radio entertainer who is the big 
favorite — the one whom they would rather 
listen to than anyone else. I think everyone 
has one. — Evelyn Faux, Fort Wayne, Ind. 


"YX/"HEN I began reading in the Radio 
"" Digest for May that some listener was 
disgusted at the lack of Irish in Rudy 
Vallee's St. Patrick's Day broadcast. I felt 
sure that the signature would be "Michael 
O'Donegan" or "Patrick McBrien". Instead 
it was "Francis Brown", which does not 
smack of much Irish atmosphere. Rudy 
presented the program as he did, I believe, 
because he is a showman and knows the 
secret of successful broadcasting. By eight 
o'clock March 17th, listeners were beginning 
to weary of Irish programs just as one 
wearies of too much of any good thing. 
However, Rudy knew that his listeners ex- 
pected a bit of Irish and they got it. What 
was the matter with Ray Perkins' Irish song ? 
Surely Ray's brogue i? satisfactory. A pro- 

gram of an hour's duration needs to be 
well-balanced and have some contrast or it 
would be monotonous and uninteresting. As 
Rudy has never gone in for singing Irish 
songs, I believe it was better for him to re- 
main just Rudy and let those who shared 
the Fleischmann Hour supply the "Irish at- 
mosphere." I am certain that Rudy is not 
ashamed of his Irish ancestry or he would 
not mention it in his writings, interviews, 
etc. If that "entire community" wanted 
some Irish airs, why didn't they write Rudy 
some fan letters and make their requests, as 
Rudy's programs are made to a great ex- 
tent from requests from listeners? — Just a 
Fan from Port Jervis, N. Y. 


TX/'E READ the Radio Digest every 

" » month and sure do enjoy it immensely. 
We have seen nearly all of our radio favor- 
ites in the Radio Digest but there are a few 
that you have not mentioned so far. How 
about giving the crooners a break. We are 
some of the folks who enjoy a good crooner 
such as Pat Kennedy-Fran Frey, Don Novis 
and Jack Fulton. Why not print an article 
about them and give all us Radio Digest 
fans a look at them. Hoping to see their 
pictures in a future issue, we are — A Pitts- 
burgh Radio Digest Club, Pittsburgh, Pa. 


'"TODAY I write to remind you of the 
■*■ photograph of the Lombardo orchestra 
I hope to find in your pages soon and I 
hope you will also print the route for their 
tour. I have one more request to make. 
There has been a great scarcity of informa- 
tion concerning one of my favorite artists — 
Tito Guizar who sings those beautiful Span- 
ish love songs and who has one of the most 
gorgeous voices I have ever heard. I have 
thrilled to the exquisite beauty of his voice 
on the Gauchos program for a long time, and 
more recently on the Woodbury program. 
Please won't you tell us about him and give 
us pictures? I regret the smaller size of my 
new copy of Radio Digest. I'd rather pay 
a quarter and get the full size. There is 
much food for thought in the editorial this 
month. It is an angle that the fan is not 
likely to consider. The two pages of an- 
nouncers are fine and I wait impatiently for 
the continuation. Who says we don't adore 
announcers ! Their beautiful speaking voices 
are among my greatest delights and I am 
sure they are helping us beyond measure in 
self improvement. The biographies have 
been wonderful — and still are — but the slate 
has hardly been scratched. Fans would love 
more of the little anecdotes that fit in and 
add so much to their scrapbooks. I've been 
reading Radio Digest for three years and 
wouldn't miss it for anything. Please give 
us a nice story about Tito Guizar. — Hazel 
Rhoades, 1749 N. Winchester Avenue, Chi- 
cago, 111. 


WAS surprised to find Radio Digest 
ten cents thinner this month. Would 
rather pay the quarter. and have it fatter and 
newsier. Missed Marcella even though she 
is a poor finder of missing artists. Had you 
left out Tuneful Topics and VOL there 
would have been nothing left. Can't im- 
agine a radio fan being interested in Irvin 
Cobb's writing or Dean Archer's. Clarence 


Whitehill's article was very good. N er 
miss a Fleischmann hour but did not ..jar 
the 17th of March program announced as 
being of Irish atmosphere, although I do re- 
member the Mullen sisters. Too bad about 
all "them there" Ashtabula Vallee fans going 
wrong. Can anyone imagine Vallee being 
ashamed of his Irish or better sid«'? Of 
course everyone knows that was his mother. 
Many thanks, and here's looking for a 
twenty-five cent Digest in June. — Sidney 
Smith, Absecon. 


T SUBSCRIBED for your magazine and got 
■*■ a swell picture. The magazine is swell 
and I'm crazy about the new pictures on 
the cover. Then you come along with the 
May issue half-size, fifteen cents, and I don't 
like the paper it's printed on. I don't even 
like the articles. I don't mind having the 
price cut, but I think you're just helpinu 
Old Man Depression along his troublesome 
way. If you had maintained the twenty-five 
cent standard maybe people could — well for- 
get a little. The new Announcers' Gallen is 
okay. Why not start an Orchestra Gallery 
too? Also I am heartily in favor of a male 
beauty contest, and I appoint with regard 
for looks only, not talent, Rudy Vallee, Bing 
Crosby, James Wallington, and George Beuch- 
ler. Print more pictures of men — we get 
tired of girls. Can anyone tell me when 
Buddy Rogers broadcasts? Let's have a pic 
ture of Will Osborne, I've never seen a 
picture of him, nor heard him broadcast, 
when is he on ? Here's to Morton Downey, 
George Jessel, the Four Lombardos, Art 
Jarrett and Lanny Ross — long may they 
broadcast. I'd like to say this in conclusion 
I like the old 'Radio Digest best and I'm 
disappointed in it. Please won't some of 
you radio fans write to me, especially Eugene 
W. Cain, who complained about the photos 
— I've no complaint — I have about SO, since 
August — so there! — Miss Winifred Stabler. 
Box 8, Geronimo, Oklahoma. 


I AM a new reader of Radio Digest and I 
liked best of all Voice of the Listener. 
And I want to have my say too, I think it 
was silly of two of your readers who wrote 
in to say that they did not care for Russ 
Columbo's singing. If they do not appre- 
ciate his singing then they don't know any- 
thing about it. I think he has the finest 
voice on the air. I would like you to 
publish this so that they may know there 
are others who think him worthy of atten- 
tion. I wish you best of luck and I hope 
to be a constant reader of your delightful 
Digest. — N. D. Alexander, 98 Second Place. 
Brooklyn, N. Y. 


MY HUSBAND and I sit up every night 
to hear Nellie Revell's program on the 
radio and enjoy every minute of it and always 
say "it is too short". Last night it was espe- 
cially good. We are interested in the different 
ones you have spoken of and like to hear 
who they are but are more interested in Nellie 
Revell than anyone else, so will you please 
tell us a little about your own dear self. — 
Sarah C. Pierce, 29 Union Street, Hornell. 
New York. 

I HAVE been a reader of Radio Digest for 
over a year and it seems as if each month 
it grows more and more interesting. I am 
especially interested in VOL and "Tuneful 
Topics" by Rudy Vallee and also in the 
different radio artists and announcers. I 
live in the vicinity of Hartford, Conn., and 
would like to see a picture of Fred Wade of 
WTIC and also of Walter Hass of WDRC. 
Would it be possible to have their pictures in 
some of the later Digests? I would also like 
to ask for a true picture of Mrs. Rudv 
Vallee some time. I have seen many of her 
but no two look alike. — C. L. G., Hirt 

JEAN HANNON, Soprano, WCFL, Chicago. Her splendid 
voice is heard on numerous afternoon programs. Miss Hannon 
was secured for radio from the concert and light opera stage. 

Station Parade 
IFGY^Schenectady.N. Y. 

«T JES' come down from de Mekinac 

JL for broadax to people in de Junite 
State to tole dem how smart dose man 
is w'at leev in dat place. You know who 
was de mos' bes' fi'tin' man up dere? 
Dat was my huncle. Oh ... he was 
beeg man an' he weigh, I dunno, mebbe 
four hondred twenty five poun'." 

Thus speaks Joe Peno or Joseph Felici- 
tas Pinaud, the French-Canadian woods- 
man of WGY, who is rapidly taking his 
place among radio comedy characters. 

Joe is the brain child of Waldo Pooler 
who is also his radio interpreter. Mr. 
Pooler, a former newspaperman and 
actor, lived for years at Bangor, Me., and 
he saw character material for the stage 
in the French-Canadian. 

Kolin Hager, manager of WGY, saw in 
the French-Canadian an excellent oppor- 
tunity for a new radio personality and 
he planned the Joe and Eddie sketch 
which is now a three-time-a-week attrac- 
tion of the Schenectady station. 

Joe is a composite of many characters 
and the patois, which is a fascinating 
and humorous union of both French and 
English, is authentic. 

Joe Peno, as conceived by Pooler, 
is a simple, lovable blunderer with a 
natural affinity for trouble, gay one mo- 
ment, melancholy the next, and loyal to 
his friends. Joe's besetting sin and one 
of which he is wholly unconscious, is a 
tendency to exaggerate, in fact, Joe is a 
colossal liar. He has inherited the epics 
of that master woodsman, Paul Bunyan, 
and he really believes that Paul saved his 
army of woodsmen from starvation by 
building a fire under a lake to make a 
lakeful of pea soup after hundreds of 
sleighs loaded with peas broke through 
the ice. Peno recalls, as if it were today, 
a winter so cold that spoken words froze 
in the air and his ears still tingle with 
the bedlam of curses that was released 
when the spring thaw set in. 


The sketch "Joe arid Eddie," presented 
by WGY every Tuesday, Thursday, and 
Saturday at 6:00 p.m., is built around 
the adventures of Joe Peno and his friend 
Eddie, a straight character, employes of 
a night-club. Eddie, played by Warren 
Munson, is a night-club entertainer, and 
Joe is a humble jack-of-all-trades work- 
ing in the kitchen or as bus boy in the 
dining room. A third character Jimmie, 
manager and fixer, is taken by Tom Lewis, 
who also assists in writing the script. 

WMBH^Joplin, Mo. 

"T TNCLE Clem and Martha" in "Down 
LJ on the Farm" met with instant pop- 
ularity at WMBH. Miss Jean Knighton, 
playing the part of Martha, is a graduate of 

Tom Lewis "Jimmie" — Waldo Pooler as 
"Joe Peno" and Warren Munson as "Eddie" 

Northwestern University. Miss Knighton 
is twenty-two years of age and portrays 
several characters in the script. Merwyn 
Love, playing the part of Uncle Clem, is 
twenty-three, writes the script and also 

Colonel Reiniger 

portrays several characters. Mr. Love 
hails from Kansas University. "Down 
on the Farm" presents Uncle Clem in a 
Yankee type of characterization and very 
much in love with Martha. This pro- 
gram began as a local feature three 
months ago. It is a regular evening fea- 
ture broadcast at six-fifteen — clean-cut. 
wholesome comedy. 

WOR ^Newark, N. J. 

a.m., Saturdays. Colonel Reiniger. 
who presides at the meetings of the 
Young Aviators of America National 
Club, over WOR every Saturday morn- 
ing at 10:00 a.m., used to be one of the 
star salesmen of the National Broadcast- 
ing Company. He says that he is 
going to put the proceeds of whatever 
broadcasting he does into making a suc- 
cess of his hobby, the Y. A. A. There are 
already over a thousand members of this 
club, and they hold a weekly mass-meet- 
ing at the Chanin Building Little Theatre, 
and ground school meetings every Friday 
night in the various public libraries. The 
object of the club is to teach every one 
of its members how to fly. 

Colonel Reiniger organized the now 
widespread and powerful Reserve Officers' 
Association of the United States. He 
started that organization in a small way 
as the Reserve Officers' Association of 
Western North Carolina. 

Colonel Reiniger has had a colorful 
career beginning with his education at 
the U. S. Naval Academy, his service as 
a Major of field artillery during the war. 
and later for three years as a member 
of the general Staff of the Army in Wash- 
ington under General Pershing, then two 
years preparing for and serving in the 
diplomatic service of the State Depart- 
ment, and finally with NBC. 


KNX ^Hollywood, Cal. WRVA^ Richmond, Va. 

Joyce Coad, sweet seventeen, who delights 

KNX listeners, in a weekly broadcast 

feature interview. 

JOYCE COAD, little movie star, fea- 
tured each Tuesday in an interview 
about the movies, and extremely popular 
with the KNX audience, whose name con- 
jures visions of the success which lies in 
wait for hundreds of boys and girls in 
radio and in pictures. At the age of nine 
Joyce won a contest conducted by the 
Los Angeles Express for the best physical 
and mental child, and went immediately 
into motion pictures. 

From the time she was cuddled under 
the protective wing of the KNX execu- 
tives, she has advanced steadily in her 
many endeavors. She has appeared in 
parts opposite the., most outstanding 
screen stars, including Lillian Gish, Lionel 
Barrymore, Clara Bow and others. 

She is a studious little person, particu- 
larly fond of history, and art, being quite 
proficient in oils and water colors. She 
manages to find time always for swim- 
ming and for fencing, in which she is an 
apt pupil. Having been born in Wyoming 
on a ranch fifty-two miles from Cheyenne, 
she has always been a splendid horse- 
woman and she has owned all sorts of 
pets, from kittens to baby pigs. 

WOR ^Newark, N. J. 

GUY HUNTER, whose songs at the 
"piano are heard over WOR every 
Tuesday afternoon at 3:15 p.m., has been 
blind since his birth some forty odd years 
ago. As a little boy he was registered 
at the Kindergarten for the Blind at 
Jamaica Plains, Massachusetts. Later on, 
when he had outgrown kindergartens, he 
attended the Perkins Institute for the 
Blind in South Boston. There, in addi- 
tion to a liberal education he was taught 
to tune and repair pianos, as well as to 
play them. The possibility of his becom- 
ing a professional pianist seemed very 
remote to Guy Hunter at the time. But 
he was not content with any particular 
trade, and so, early in 1910, he made his 
first public appearance on any stage at 
an amateur night at Miner's old Eighth 
Avenue Theatre in New York. There 
he met with unexpected success and was 
brought to the attention of Joseph M. 
Schenk, at that time booking manager 
for the Marcus Loew vaudeville circuit, 
who booked him for a ten weeks' tour 
of the Loew Theatres. 

The radio adopted Guy Hunter early 
in its career; he has been broadcasting 
since 1922 and claims that it has been 
an invaluable aid to him. After hearing 
a song broadcast two or three times he 
can play it perfectly. And it is interest- 
ing to note that he can memorize a song, 
words and music, in fifteen minutes. For 
his own radio appearances he is always 
careful to select a program suitable to 
all types of listeners, and his baritone 
voice is always a refreshing treat. 

CHILDREN'S radio features seem to 
come and go throughout this broad 
radioland, but a few of the old stand- 
bys keep going on and on, like Tenny- 
son's brook, in unceasing popularity. 
Among the latter, it would appear is Mrs. 
Sandman's Radio Playhouse, an every- 
evening feature for the children heard 
over station WRVA in Richmond, Down 
Where the South Begins. Mrs. Sandman 
is nearing the close of her third year 
as a dramatic story , teller for children 
of all ages — from three to seventy-three, 
according to her mail — and the secret of 
the appeal of her programs would seem 
to lie in their imaginative qualities. 

For over a year, now, Mrs. Sandman 
has been ably assisted by "Jimmy," which 
is not the young man's real name, and 
whose popularity runs a close second to 
that of Mrs. Sandman herself. Perhaps 
another secret of the popularity of this 
children's feature is the variety of the 
programs. There are at least three 
dramatized fairy tales produced weekly, 
and then there is a trip on the magic 
carpet by Mrs. Sandman and Jimmy and 
Wampus (the dog), and Okacheeka (the 

4 ■ 

v £3 1 


Mrs. Sandman and "Jimmy" on the 
Magic Carpet. 

magic carpet monkey), every Wednesday. 
The other two nights must be devoted 
to telling stories and singing the songs 
children of the radio audience insist upon 
being told. Very often Mrs. Sandman 
and Jimmy must interpret from five to 
nine parts in the dramatized stories and 
magic carpet journeys. 

Mrs. Sandman's program originated on 
station WTOC, Savannah, Ga., nearly 
three years ago, and something over a 
year ago moved to WLBG, Petersburg, 
Va., from which, after a few months, it 
was taken over to WRVA, nearby in 
Richmond, where the feature is now in 
its seventh month. 

In private life Mrs. Sandman is Patti 
Hiatt Stephens, a graduate student in dra- 
matic expression at the University of 
Kansas and former director of student 
dramatics there. "Jimmy," outside the 
studio, is known as Robert L. Pulley, a 
native Virginian and talented musician. 

WL. W^* Cincinnati 

Don Becker tells bow Pea- 
nut Pietro was conceived 

PROMETHEUS . . . there was a man 
. . . went around making models of 
clay, and then animating them with fire! 

Kay M. Grier, of Los Angeles, is more 
or less, the living counterpart of this gay 
Greek blade. Fourteen years ago, he 
created a lifeless character, with nothing 
but the name of Peanut Pietro for iden- 
tification. Then, with the livid sparks 
that flew from a broken-down typewriter, 
he imbued this inanimate with the wit, 
humor, virtues and shortcomings of a 
human being, whose greatest ailment was 
the mastery of the English language. 

Today, the radio character, Peanut 
Pietro, and the author, Kay M. Grier, are 
so fused, so completely an integral part 
of each other, that it is sometimes diffi- 
cult to determine which is which. 

Originally, Peanut Pietro made his ap- 

pearance in the newspapers of the coun- 
try. With mangled grammar and dis- 
figured English, he philosophized on life 
... he commented on politics, until the 
whole countryside knew and loved him. 

Recently, the Planters Nut and Choco- 
late Company was looking for something 
different for radio entertainment. 

So, one fine day, Grier went to his 
trunk . . . gave Pietro a nudge . . . awak- 
ened him from his sleep, and said, "Boy, 
you're going back to work!" Peanut 
Pietro had never been on the radio be- 
fore, but after one evening in front of 
a microphone, this beloved character of 
Sunny Italy was a veteran. 

Grier has given Pietro many friends, 
and not so few enemies. Joe, the Cop 
... the epitome of any "City's Finest" 
is constantly keeping him out of trouble. 
"Telephones" — his dog, is a pleasant fix- 
ture. You'll love little Julie Finnegan . . . 
you'll laugh at Levinsky and hate Old 
Man Skinner, who dotes on throwing cold 
water into the happiness of Peanut Pietro. 

Nine Forty-Five p.m., Eastern Standard 
Time, over station WLW is all the in- 
formation you need to become a friend 
and lover of Peanut Pietro. Next month 
Radio Digest plans to print pictures of 
Pietro and his friends. 

Alice McCorckie, Gene Llewellyn and Virginia Miller, the So and So Trio, who cut classes 
at the Pennsylvania College for Women, to enter the Pittsburgh Paul Whiteraan Youth 
of America contest and sang their way to first choice are being featured on station KDKA. 


A PROGRAM originating in the studios 
of WJR, the Goodwill Station, and 
broadcast every Wednesday night at 12 :30 
a.m. over an NBC-WJZ network of sta- 
tions, gives to listeners throughout the 
country a half hour presentation by the 
best talent which the city of Detroit has 
to offer. Broadcast from studios atop 
the Golden Tower of the motor city's 
famous Fisher Building, the program is 
entitled Half an Hour from the Golden 

A regular feature of the broadcast each 
week is the music of Benny Kyte and 
his orchestra of fifteen pieces. Kyte 
came to Detroit seven years ago and 
with his orchestra made a phenomenal 
record of more than five years consecu- 
tive running on the stages of Detroit 
theaters. Two years ago he became as- 
sociated with WJR and in a short time 
had duplicated in radio the success he 
had enjoyed in the theater. In his radio 
orchestra he has assembled musicians who 
are outstanding in Detroit. 

Snapshots of part of the luxurious facilities 
of KARK, Little Rock, Arkansas. This is 
one of the finest equipped broadcasting sta- 
tions in the country. 

Canadian Pa- 
cific Four, CKLC, 
male quartette, serenade the fa- 
mous locomotive number 8000, of the 
Canadian Pacific Railway. 


Naomi Hammett 

W]W '—Mansfield, Ohio 

LOCAL artists, it seems, sometimes do 
«• not go over so big in their home sta- 
tions, regardless of their ability. Naomi 
Hammett at WJW is, however, an excep- 
tion to this general rule. Perhaps the 
above picture explains the reason, but 
as though her attractiveness weren't suf- 
ficient reason for popularity Miss Ham- 
mett possesses considerable ability as a 
pianist. In addition to being staff pianist, 
M-iss Hammett carries two programs by 
herself — one a daily feature, consisting of 
popular selections in which she occasion- 
ally adds to her popularity with a vocal 
chorus, and another program of classical 
piano solos, which is on the air bi-weekly 

WGN — Chicago 

FRED JESKE, The Monarch Melody 
Man and Uncle Remus, heard over 
radio station WGN, Chicago, is one of 
the old timers of radio. He has been 
heard on the air since 1923, first, as staff 
artist on radio station WBBM, then staff 
artist on radio station WDAP (the old 
Drake Hotel station). Jeske was studio 
director and Colonel Nutt of the famous 
Xutty Club of radio station WBBM. He 
was artist and studio director of station 
WSOE of Milwaukee, in 1927, program 
director of radio station WTMJ of Mil- 
waukee, for a year and one-half, and was 
staff artist and M. C. for all radio sta- 

tion's WIBO regular and television broad- 
casts, for two years. Later, Fred went 
to radio station WGES as studio director. 
He has been with radio station WGN 
for about a year now, and has earned for 
himself two commercial accounts. Jeske 
has done much for the station, and his 
deep baritone voice has caused hundreds 
of his feminine audience to write to him. 

WCKY—^ Covington , Ky . 

Radio Digest Goes on the Air With 
a Double Trio 

By Jack Snow 

WCKY planned a weekly radio pro- 
gram for Radio Digest. The pro- 
gram must be newsy, entertaining and 
the music must be the best. Getting 
the news was easy — a current issue of 
Radio Digest solved that problem quick- 
ly. But there were so many good musical 
features on WCKY'S program schedule 
from which to choose that Maurice 

Fred Jeske 

Thompson, WCKY's studio director, wat 
at a loss as to which to select. He wanted 
a trio for the program. WCKY had no 
less than a dozen excellent instrumental 
and vocal trios on the air. What to do? 

Director Thompson had almost decided 
to resort to the good old "drawing" 
process of quick elimination. He would 
write down the names of his trios on slips 
of paper, place them in a hat and draw 
the lucky one. That would be the Radio 
Digest Trio. 

Then Thompson was struck with an 
idea. If two heads were better than one. 

surely two trios were twice as good as 
one ! It was a comparatively simple mat- 
ter to match two trios out of twelve, and 
the result is the WCKY Radio Digest 
Sextette, really a combination of two 
trios, the Debutantes and the Plantation 

The Debutantes made their debut on 
the air waves of WCKY last January and 
since then have been heard in a weekly 
quarter hour program. They are also 
featured in WCKY's presentation of 
Southern Symphonies, which is broadcast 
every Friday night from the WCKY 
studios by the nation-wide chain of the 
National Broadcasting Company. When 
television comes along and picks up the 
visual charms of these three young ladies, 
Radio Digest will be famed as having 
'the best looking program on the air." 

"Off the Air," the Debutantes are Ruth 
Heubach-Best, Maray Hartwell and Na- 
delle Schuping. 

The other half of the Radio Digest 
Sextette is the trio of Plantation Players, 
composed of violin, piano and cello, 
played respectively by Eleanor Brandt, 
Winifred Hazelwood and Russell Hen- 
derly. It is this same Russell Henderly, 
by the way, who produces the novel ar- 
rangements for the Debutantes' crooning 
blue harmonies. The combination of the 
weird blue melodies of the Debutantes, 
their occasional solos, and the string melo- 
dies of the Plantation Players as they 
offer popular and semi-classical selections, 
is a most pleasing one. 

The other portion of the program con- 
sists of news selected from the pages of 
Radio Digest. Each week a feature story 
is discussed and items of general interest 

Set your dial for WCKY on 1490 
Kilocycles next Wednesday night at 6:15, 
E.S.T., .and hear the Radio Digest 

Frank Grasso 

Radio Digest Sextette on the air at WCKY. Left to right: Winifred Hazelwood, Russell 
Henderly, Eleanor Brandt, Nadelle Sdhuping, Ruth Heubach-Best, Mary Hartwell. 

WFLA^Tampa, F/a. 

STATION WFLA of Tampa and Clear- 
water, recently voted in Radio Digest 
as Florida's most popular station, has a 
host of friends in Cuba. A frequent vis- 


Bert Arnold 

itor to the Tampa studios is Ramiro 
Ortiz Pianos, Chancellor of the Cuban 
Consul, who recently sketched his im- 
pressions of Frank Grasso, musical di- 
rector, at left bottom, inside column, 
page 38, and Bert Arnold, program di- 
rector of station WFLA, facing him. 

KGKL, San 

Angelo, Texas 

THE San Angelo 4 
Lions Club Cowboy 
Entertainers, recently 
selected by Interna- 
tional President, Julian 
C. Hyer, as his official 
band, had its inception 
in 1927, with only four 
members, J. T. Hous- 
ton, Louis R. Hall, 
Harold W. Broome and J. C. Springer, 
when they combined their musical talent 
to .pep up the meetings of the local Lions 
Club. Grew in popularity and numbers 
until 1929 when it had eight members: 
Fred Wilson, Henry Rogers, Jim Hislop 
and Lloyd Groves having been added. In 
the early part of 1931 Wilson, Springer 
and Roger having withdrawn from the 

club, their places were filled by Frank 
Meadows and Joe L. Haddon; the organi- 
zation being composed now of seven mem- 
bers and all are active in the Lions Club 
of San Angelo, Texas. 

While the Cowboy Entertainers, all of 
whom have had a great deal of musical 

San Angelo Lions Club Cowboy Entertainers, 

experience, are proficient in semi-classical. 
Spanish and eccentric popular music, they 
are featuring the old-time cowboy songs, 
ballads and music. Coming from a ranch- 
ing portion of West Texas, they have se- 
lected those tunes that have such a 
peculiarly appealing quality that they arc 
rapidly being revived and becoming pop- 
ular all over the United States 



{Continued from page 13) 

of the lot behind the hi-board fence 
only to find come Thurs. that they've all 
cleared out to the firemen's picnic — some 
place: That first snow storm is far off 
today ..." 

One lady, it seems, had sent our hero 
her portrait done in oil or pastel. She 
writes : 

"And I might just as well have used 
a picture of Greta or Marlene, or the 
Golden Gate as the one I did. I resem- 
ble one as much as the other. My face, 
you see, is one of the durables. Even 
my husband thinks it's cute to pinch my 
cheek, look surprised and say in awed 
hollowed tones, 'It's Armstrong — pure 
cork linoleum.' And it was swell of 

Miss V to take one pained look at 

my mug, screw her eyes up tight and 
draw something that I might have 
looked like if I didn't look like what I 
do. . . . Here's the picture. The scene, 
the garden of Baron R 's English es- 
tate ; the moonlight streams through the 
trees, a nightingale sings, the air is sweet 
with the flowers, golden candlelight 
streams out from the mullioned win- 
dows ... I, dressed in draperies, flit 
about entranced, intoxicated, my gypsy 
blood (or maybe its sprite) surging up 
and dominating the good old Anglo- 
Saxon. I dance, I flit, I sniff at the 
flowers (and probably get a touch of 
asthma), and suddenly music floats from 
the mullioned windows ... I look up to 
heaven, my face is transformed, the old 
cork linoleum effect fades, and there, 
THERE in its place is Miss V's concep- 
tion. And there as I stand with the 
moonlight on my new face, my Prince 
of Pineapple comes through the mul- 
lioned windows . . . Perhaps I had bet- 
ter stop. He probably fell and broke 
his neck." 

Practically all of the letters have some- 
thing to say about the product of Per- 
kins' sponsors. A Georgia lady comments 
how she had raced around the dials for 
days until she found him, then: 

"Now that I have found you I have 
a season ticket, front row, aisle seats, 
and armed with my trusty bottle of 
Jergens I shall attend every perform- 
ance. . . . Privately, regarding all this 
blah about soft white hands holding 
hearts — it does pretty well as a theme 
song but when a woman reaches my age 
and weight, all the hearts she holds are 
contract bridge, Jergens or no Jergens." 

A New Jersey matron writes with a 
problem, should she or should she not 
join a so called Ray Perkins club? 

"No I haven't got my programs 
mixed. I know you are not a Sister of 
Skillet but I have a problem that needs 
you, just you. (Here, I go into my 
dance.) For some time I have consid- 
ered writing you and complaining that 
you, among your many other attain- 
ments have taken up a great disappear- 
ing act. No sooner do I grow to feel 
that all's right with the world because I 
can hear you on several programs, and 
have these highlights to look forward to 
through the daily grind of household 
duties, bored (that's spelled right) 
meetings and overwhelming domesticity, 
then you vanish like Houdini's elephant. 

Blue Ribbon 

WEAF— Key Station, NBC Red Network, New York. 
WJZ— Key Station. NBC Blue Network, New York. 
WABC— Key Station, Columbia Network, New York. 

Throughout the Week 

(Daily except Sunday) 

7 :45 a.m.— WJZ— Jolly Bill and Jane (July) 

8:00 ajm.— WEAF— Gene and Glenn (August) 

9:45 a.m.— WEAF— Our Daily Food (July) 

12:00 noon— WEAF— G. E. Circle (July) 

6:45 p.m. — WJZ — Lowell Thomas (August) 

7 .00 p.m.— WJZ— Amos 'n' Andy 

7:30 p.m.— WJZ— Stebbins Boys (July) 

7:45 p.m. — WJZ — Billy Jones and Ernie Hare (August) 

7 :45 p.m.— WEAF— The Goldbergs ( August) 

10:00 p.m.— WABC— Music That Satisfies (Liggett & Myers) 

7:00 p.m.— WABC— Tito Guizar ( Mon. and Wed.) 
7:15 p.m.— WABC— Mills Brothers (Tues.) (Thurs., 7:45 p.m.) 
7:30 p.m.— WABC— Connie Boswell (Tues.) (Thurs., 7:45 p.m.) 
7:30 p.m.— WEAF— Ray Perkins (Tues. and Thurs.) 
7:45 p.m.— WABC— Bing Crosby (Mon. and Wed.) 
7 :45 p.m. — WABC — Georgie Price and Benny Kreuger's Orchestra 
( Chase & Sanborn) (Tues. and Thurs.) 

8:00 p.m. — WABC — Bath Club Program with Irving Kaufman 
(Mon., Wed. and Fri.) Willard Amison (Tues. and Thurs.) and 
Roger White's Orchestra 

8:15 p.m. — WABC — Abe Lyman's Orchestra and Guest Stars (Tues. 
and Thurs.) 

8:15 p.m. — WABC — Singin' Sam the Barbasol Man (Mon., Wed. and 

8:30 p.m. — WABC— Kate Smith La Palina Program (Mon., Tues. 
and Wed.) 

8 :45 p.m. — WABC — The Gloomchasers — Colonel Stoopnagle & Budd 
(Mon. and Wed.) (Dixie Network— 8:30 Tues.) 
8:45 p.m.— WABC— Joe Palooka (Tues. and Thurs.) 
8:45 p.m.— WJZ— Sisters of the Skillet (Tues. and Fri.) (July) 
9 :30 p.m.— WABC— Eno Crime Club (Eno Fruit Salts) (Tues. & Wed.) 
9 :30 p.m. — WJZ — Jack Benny, Ethel Shutta and George Olsen's Or- 
chestra (Mon. and Wed.) (July) 

10:15 p.m.— WABC— Musical Fast Freight (Tues. and Thurs.) 
10:30 p.m. — WABC — Howard Barlow's Symphony Orchestra (Daily 
except Sat. and Sun.) 

11:00 p.m. — WABC — Irene Beasley (Tues., Thurs. and Sat.) 
11:15 p.m.— WJZ— Cesare Sodero and the NBC Concert Orchestra 
(Tues.. Thurs. and Sat.) 


11:30 a.m 
2:30 p.m.- 



August) ( 
9:00 p.m.- 
9:15 p.rn.- 
9:30 p.m.- 
9:45 p.rn.- 
10:00 p.m 
and Guest 

—WEAF— Major Bowes' Capitol Family 
—WEAF — Moonshine and Honeysuckle 
—WJZ — Yeast Foamers (August) 
—WEAF — International Broadcast 
-WEAF— Pop Concert (Sat.. 9:15 p.m.) 
-WJZ— Three Bakers (July) 
-WEAF— Chase and Sanborn 

—WABC — Lewisohn Stadium Concert (Sat., 8:30 p.m.) 
-WJZ— Goldman Band Concert (July) (Tues., 9:30 p.m.- 
Thurs. and Sat., 9:00 p.m. — July and Aug.) 
-WJZ — Enna Jettick Melodies 
-WJZ— Bayuk Stag Party 
-WABC— Pennzoil Parade 
-WEAF — Sheaffer Lifetime Revue 

. — WABC — Gem Highlights with Jack Denny, Ed Sullivan 



10:30 p.m.- 
10:45 p.m. 


-Columbia Experimental Dramatic Laboratory 
-Seth Parker 





10:00 p.m 
10:00 p.m 
10:15 p.m 

-WABC — The Surprise Package 
-WEAF— D'Avrey of Paris 
-WEAF — Voice of Firestone 
-WEAF— A. and P. Gypsies 
-WJZ — Sinclair Wiener Minstrels 
-WABC— The Street Singer 
-WEAF— Parade of the States 
—WABC — Bourjois, An Evening in Paris 
. — WEAF — National Radio Forum 
—WJZ — The Country Doctor (July) 
—WABC— Modern Male Chorus 


3:45 p.m. — WJZ — Mormon Tabernacle Choir (August) 
8 :00 p.m. — WEAF — Blackstone Plantation 
8:30 p.m.— WEAF— True Story (July) 

9:00 p.m. — WABC — Ben Bernie's Orchestra ( Blue Ribbon Malt) 
9:30 p.m.— WEAF— Ed. Wynn and the Fire Chief Band (July) 
10:00 p.m.— WEAF— Lucky Strike Hour with Walter O'Keefe and 
Police Dramatization (Thurs. with Walter Winchell and Walter 
O'Keefe) (Sat. with Bert Lahr and Walter O'Keefe) 


7:15 p.m 
8:00 p.m 
8:30 p.m 
9:00 p.m 
9:00 p.m 
9:00 p.m. 
9:30 p.m. 

,— WJZ— Royal Vagabonds (July) 
—WEAF— Big Time 

. — WJZ — Jack Frost Melody Moments (August) 
,_ WJZ— Sherlock Holmes (August) (Thurs.. 9:30 
-July and August) 
— WEAF — Goodyear Program 
— WABC — Robert Burns Panatelo Program 
WEAF— Mobiloil Concert 







-WEAF— Fleischmann Hour — Rudy 
-WJZ — B. A. Rolfe and his orchestra ( Jul 
-WEAF— Big Six of the Air (July) 
-WJZ — Thompkins Corners (August) 
-WABC— Love Story Hour 


v ) ( Fridav, 



10:00 p.m 
10:00 p.m 

-WJZ— Radio Guild 

-WEAF — Cities Service Concert 

-WABC— Week-End Hour (Eastman Kodak) 

-WEAF— Clicquot Club 

-WJZ — Friendship Town I August) 

-WABC — To the Ladies (Woodbury Program) 

-WEAF — Pond's Program, Leo Reisman and his orchestra 

—WABC — Gus Van (Van Heusen Program) 

.— WEAF— Erno Rapee 

— WJZ — Paul Whiteman and his Pontiac Chieftains (Jul) ) 



WEAF — Chautauqua Opera Hour 
WJZ— Pacific Feature Hour 
WEAF — Civic Concerts Service 
WEAF— K-7 

■WJZ — Dance with Countess D'Orsay 
WJZ— First Nighter 
10:15 p.m.— WABC — Columbia Public Affairs Institute 


( Pardon the simile but you are IM- 
MENSE.) Then she states her problem 
and explains that she shrinks from 
•public exploitations' but 'if this mem- 
bership helps you, to h with how I 

feel.' On the other hand, 'if it just 
means signing my name to a list of 
maudlin females, ugh-um ! I'd love to 
meet you after or between shows and 
run you out into the Jersey country- 
side in the old yellow roadster for some 
lunch or such ; or send gardenias to the 
stage door, but the very sound of a 
•fan' gives me shivery flutters. Yours 
with something far more substantial 
than a fan " 

Instead of killing the patient, the Per- 
kins treatment, when correctly and judi- 
ciously administered, cures the listener of 
yellow jaundice, spots before the eyes, a 
run-down-at-the-heel appearance, sinking 
spells, inability to see the funny side of 
life and general mental and constitutional 
debility. For further information and 
directions, tune in on NBC Stations WJZ 
and WEAF or address the Perkins Labor- 
atories. Ltd.. 257 Madison Road, Scars- 
dale. New York. Here in his immaculate 
Barbasolarium, Perkins, the Mirthmaster. 
sits in unrubbed Barbasolitude weaving 
witty ditties to glorify the great American 
chin and advising how to keep it in hair- 
less happiness. 

Thanks R. D. Readers 

I OWN KINGSON, of Chicago, who 
wrote a letter to our Voice of the 
Listener department, stating that she 
"knew Wayne King," was surprised to 
receive letters from listeners in all parts 
of the country asking for further in- 
formation. Now she has decided to "tell 
all" in a book which will be published 
soon. She writes in part: 

"At first I gave very little thought to 
them (the letters) but since they are 
still coming to me I find there is a sense 
of duty upon my part to indicate some 
appreciation toward my new correspond- 
ents who came to me through reading 
Radio Digest. 

"'Were I to answer the many questions 
which are asked of me it would take a 
book . . . and right here let me say I 
am now working on a book which I am 
dedicating to Wayne King. I think all 
of his admirers will enjoy reading it. 

"I am happy in dedicating this book 
to him because of his active, beautiful 
and dauntless mind ... so everlastingly 
>eeking unfoldment through his music . . 

"To all who have given me pleasant 
thoughts and kind considerations, and to 
ihose who have written me whereby the 
Radio Digest was the medium. I thank 
you most sincerely. lows Ki.ngson. 
200o McLean Avenue. Chicago. 111." 

Miss Kingson does not state whether 
her book will contain some of the inter 
esting letters that Wayne King must in- 
evitably receive from his many 
admirers. Wouldn't "Letters to a Kint;" 
be a swell title for it"' 



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Name . . . 
Address . 
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State . 

AUTOMOBILES operated by execu- 
■LX. tives of WOR, New York, are 
equipped with radio. The reason? Be- 
cause no matter where the executive may 
be he can tune in this station. The call 
letters sent out every fifteen minutes are 
in reality a code — that is the manner of 
broadcasting the letters constitutes a sig- 
nal. Each executive thus can be summoned 
to headquarters in a hurry . . . Russ Tar- 
boz, brilliant young American composer 
and conductor, heads the Song Makers, 
new program heard Thursdays, 8:15 P.M., 
EST, over WOR . . . Lawrence Tibbett's 
voice exceeds in volume the noise of a 
boiler factory or a riveting machine. The 

test was made in the Firestone Tire plant. 

* * * 

Another station finds a place on the 
honor roll of those who have served 
listeners for a decade or more. WDAE, 
Tampa, Fla., is the station. Neither call 
letters or ownership have changed in that 
time . . . C. Gordon Jones, latest addi- 
tion to the staff of the Yankee Network, 
headquarters in Boston, will supervise im- 
provement of sustaining programs from a 
technical, musical and production stand- 
point . . . Radio Audition Studios have 
opened at 1680 Broadway, under man- 
agement of Hal Tillotson. Purpose is to 
audition artists and rehearse programs for 
advertising agencies and sponsors and 
development of new radio ideas. 

Under the head of unusual broadcasts 
is that of a flea jumping, recently aired 
by WPAP, New York . . . Joseph H. 
Neebe is in charge of Detroit of- 
fices of Essex Broadcasters, Ltd., which 
operates sta- 
tion CKWO, 
South Sand- 
wich, On- 
tario . . . 
K T A R , 
Phoenix, Ari- 
zona, is send- 
ing out a 
booklet filled 
with statis- 
tical data 
about the 
station and 
the market 
it covers . . . 

An error in this column last month, gave 
credit to Sam Wilson, of WLW, for the 
continuity of the new program "High- 
lights of Yesterday." E. A. Cleland, new 
to the continuity staff, and who hails 
from station WLVA, Lynchburg, Vir- 
ginia, is the lad who wrote the show. 

* * * 

WLWL, New York, has just celebrated 
!he fortieth weekly anniversary of the 

C. Gordon Jones 

Testing Volume of Tibbett's Voice 

"Meet the Composer" program. The 
station started the program in August 
1931, and since then has brought to 
music lovers the work of our own con- 
temporary composers and artists. The 
composer di- 
rects the air 
program of 
his own com- 

Baking Com- 
pa n y and 
D e 1 a t o n e 
Company are 
two new spon- 
sors at WGN, 
Chicago . . . 
homes in this 
country have 
receiving sets, 
it is estimated 
. .. . WCFL, 
Chicago, has 
been granted 
a construction 
permit by the 

Federal Radio Commission to increase its 
power from 1,500 to 5,000 watts . , . 
Synchronization experiments conducted 
by WTIC, Hartford, Connecticut, and 
WBAL, Baltimore, with NBC, have been 
discontinued, due to unsatisfactory re- 

* * * 

The call letters of the Petersburg, Va., 
station have been changed from WLBG 
to WPHR. Nelson T. Stephens is man- 
ager . . . Shortwave sta- 
tion W8XK, operated by 
KDKA, Pittsburgh, has 
been moved to the ultra- 
modern plant at. Saxon- 
burg, Pa. ... KOB,. Al- 
buquerque, off the air 
since May, resumes broad- 
casting this month (July) 
. . . WCLO, Janesville, 
Wis., has installed two 
new modern transmitters 
and the largest broadcast 
organ in the state . . . 
Headlines is the name of 
a new program heard from 
WGN, Chicago. Atlas 
Brewing Company is the sponsor. 

Wrinkled and greyhaired, an 87-year- 
old woman, made a try for radio fame 
at WJR, Detroit, recently. She won out 
and succeeded in making her radio debut 
in a program of "Old Songs." . . . WGY, 
Schenectady, N. Y., is offering two of 
its program features twice on the same 
day, afternoon and evening. 


rrotnen l^isten jlj< 


Assistant Program Director, CBS. 

WHAT do women like to listen to 
and why? This is the question which 
I am most frequently called upon to answer. 

Frankly, when this question is asked by 
an important executive, I am appalled, 
for if one tried to interpret the reactions 
of the many millions of feminine minds, 
one would certainly be attempting to de- 
liver a very sizeable order. 

As a matter of fact, and fortunately 
so, for those of us who participate in the 
production of radio programs, we are 
aware, . through experience, that there is 
no such thing as a particular type of pro- 
gram, or types of programs, which exceed 
all others in feminine acceptance and pop- 
ularity. In my radio experience I have 
discovered no program structure in which 
quality does not determine the program's 

Who can say, for example, that pro- 
grams specifically designed to obtain the 
maximum of feminine appeal exert a more 
effective influence than Amos 'n' Andy, 
Myrt and Marge, Jessica Dragonette, 
Kate Smith, or the glorious music of 
Leopold Stokowski? I feel that each of 
these in its time and place awakens a 
response which may be called universal. 
Quality will invariably dominate, irre- 
spective of the guise in which it appears. 

In the radio workshop, and be assured 
it is a workshop, we have but one funda- 
mental and guiding principle. To be 
effective either as a sustaining or a com- 
mercial feature, a program must be enter- 
taining. This last statement should be 
qualified. We must establish an accept- 
able definition for the word "entertain- 

ing." We regard the word "entertaining" 
in its broad aspect. To be interested, we 
believe, is to be 

For instance, 
take a woman 
who finds her 
hair losing its 
lustre, becom- 
ing dry and 
brittle. Author- 
itative instruc- 
tion over the 
air as to how 
this condition 
can be cor- 
rected is ob- 
viously inter- 
esting, and if 
you don't be- 
lieve that lis- 
teners who 
have found this 
information in- 
teresting are 
also enter- 
tained, you 
should read 
some of the 
thousands of 
letters which 
are received in 
response to 
such broadcasts. 

I sincerely 
believe that all 
types of programs are effective in exact 
ratio to their entertainment value. True, 
the appropriateness of the time and the 

Marian S. Carter 


circumstances under which they are pre- 
sented are equally important. 

For example — as to time — to remind 
a woman that her hair needs atten- 
tion during an evening hour, when she 
is, perhaps, entertaining guests, is pos- 
sibly not as effective as to remind her 
during a morning hour when she is 
planning her day's activities. Yet, if 
that reminder be adroitly surrounded 
with elements of a purely entertaining 
character, she will enjoy and appreciate 
the program. 
On the other hand, if such suggestions 
and instructions 
are presented to 
her during her 
daylight hours 
at home, they 
may not require 
any embellish- 
ment whatso- 

Granted that 
the subject 
matter has a 
close relation- 
ship with her 
physical and 
aesthetic wel- 
fare, and that 
the voice and 
personality of 
the individual 
are not un- 
pleasing, she 
will still be en- 
tertained. It 
does not require 
a Paul White- 
man or a Mor- 
ton Downey to 
hold her atten- 
tion at these 
times when she 
is not seeking 
recreation. It 
all comes back and impinges upon one's 
definition of the word "entertainment." 
{Continued in next issue) 



Vice-Pres. and Gen. Mgr. 

Patronize a Quality Station 
with a Quantity Audience 

to any particular Cleveland station? No, he tunes in on pro- 
grams that entertain, educate and give him the news of the day. 
In Greater Cleveland radio listeners habitually tune in on 
WGAR, The Friendly Station of Cleveland. The only station 
in Northern Ohio to carry Amos V Andy and other famous 
features of the N. B. C. Blue Net Work. 




Affiliated with N.B.C Blue Net Work 




Mr. "Rolfe 

He Prefers "Bum" and "Trouble" 
to the Glamourous Night Life 

UNTIL recently I knew but a few 
studio people and practically 
no radio artists. But with my 
assumption of a radio column 
I came in contact with the artists of the 
air and was convinced of two things. 
One is that radio is tremendously inter- 
esting; the other that radio people are 
even more so. 

In meeting the people who face the 
"mike" I studied them individually to 
learn their personalities, eccentricities, 
likes and dislikes. Some of them ap- 
peared to possess no unusual traits, but 
others gave me food for thought and ma- 
terial for my column. In this latter 
class was B. A. Rolfe, the well-known 
orchestra leader. I found Mr. Rolfe 
most unassuming and seeking none of 
the glamour that surrounds radio stars. 
I first met the orchestra leader when 
he returned from his trip to Hawaii about 
January 1, last. It was at the Hotel 
St. Regis and, as I stepped into the 
Rolfe suite, I was struck with the like- 
ness the noted maestro bore to an old 
friend of mine, the late Will A. Page, 
publicity man. Mr. Rolfe greeted me 
with a hearty handshake and a smile. 

"Glad to meet you, Dudley," he said. 
"What do you play— a horn or contract 

On a table nearby was the faithful 
Rolfe cornet, which serves to keep its 
owner from being lonely when he is 

"Only a mouth organ," I replied. 
"Well, that's something," he said. 
"Have you got one with you? We might 
play a duet. The harmonica should blend 
well with the cornet." 

We both laughed. Then he invited 
me to sit down and have a smoke. Be- 
fore I left I discovered that B. A. Rolfe 
is a stay-at-home, in fact, probably radio's 
most prominent homebody. 

"I guess you're sorry your trip is over," 
I suggested. 

"Not at all!" he replied. "Oh, the 
trip was pleasant, but I'm glad to be 
back. I like to stay at home. Would 
you believe it, I have been a guest at 
a night club only twice in my life— and 
on both occasions I was dragged there." 
"What is your aversion to night 

"I wouldn't call it an aversion," said 
Mr. Rolfe. "I just have no desire to 

By Bide Dudley 

VVDE DUDLEY, who writes here 
D of the quaintness of B. A. Rolfe, 
is the dean of New York theatrical 
critics. For seventeen years he was 
Broadway columnist on the Evening 
World. He had become interested 
in radio even before the merging 
of the World with the Telegram. 
Twice daily he comments over the 
WMCA airway concerning the latest 
amusements now. Mr. Dudley becomes 
a regular writer for Radio Digest. 

spend my time sitting around in them. 
Night club life is more or less super- 
ficial. To me it seems unreal in the 
main. People go to such places to be 
seen and I have no desire to bask in the 
public eye." 
"Well, what do you do for recreation?" 
"Just two things. I either stay at 
home and play bridge or go out and 
shoot golf." 
"So you're a bridge expert, eh?" 


1 GUESS I'm the most 
consistent bridge loser in New York " 
said Mr. Rolfe, his smile broadening. 
"But I don't mind losing. It's the game 
itself I like. What if I do lose if I have 
a good time? Why, I'm so easy for 
good bridge players that they seek me 
out just for the fun of licking me. The 
line usually forms to the right." 

He laughed and continued. "And as 
for my golf, well I'm just as bad at that 
game. They all want to play me merely 
because I'm such a dub at it. Why any- 
body should want to beat me at golf 
I don't know. It surely is no feather 
in the victor's cap." 

Here Mr. Rolfe went further into his 
likes and dislikes. 

"I am very fond of real people," he 
went on. "By real, I mean the genuine. 
Affectations bore me; they get nobody 
anywhere. If I want to sit at home 
playing contract bridge in my old carpet 
slippers I do it. Life is too short to 
permit foolish conventionalities to get in 
your way." 

The unusual always interests Mr. 
Rolfe. He once went to Chinatown with 
Willie Hong, of the Palais D'Or, where 

his orchestra was playing, at the China- 
man s suggestion. Several other people 
accompanied them. Suddenly, as the 
party was traversing a very dark and nar- 
row street, it was found that B A 
Rolfe had disappeared. His friends im- 
mediately became apprehensive. Hong 
smiled blandly. 

"You wait. I find him," he said. Then 
Hong disappeared, too. Finally the 
Chinaman returned. 
"You come with me," he ordered. 
They followed him to a Chinese theatre 
and there, seated near the stage, was 
B. A. Rolfe, all by himself, smiling and 
applauding vigorously, although he didn't 
know what the play was all about. 

"Sit down, folks," he said. "It's a 
great show." 

"He like good show," said Hong. 
_ And it took the orchestra man's friends 
just one hour to drag him away from 
that weird theatrical performance. 

Mr. Rolfe owns a couple of wire-haired 
terriers that are his pals. One he calls 
Trouble; the other Bum. (See photo 
on page 18.) Trouble is a vocalist, but 
Bum, it would seem, knows something 
about music, too. His master taught 
Trouble to "sing". Commanded to 
warble like Singin' Sam, Trouble growls 
deeply. Asked to croon, he makes a 
shrill noise. It is then that Bum goes 
into action. He does not like crooning 
and, when Trouble "croons", Bum gives 
one agonizing look of reproach at his 
canine friend and rolls over on the floor 

Mr. Rolfe is a great believer in the 
value of purely American music. He 
hopes to see bands, orchestras and choral 
societies formed in various cities among 
amateurs some day to give programs of 
real American music. 

"The old masters are all right," is the 
way he puts it, "but I am sure ninety 
per cent, of us Americans would rather 
hear a good arrangement of Stephen C. 
Foster's "Swanee River" well rendered 
than any sonata that ever came from the 
old world. Some day America will get 
over its subserviency to the works of 
the old masters and make it possible for 
us to have a standard type of American 
music, typical of American life." 

He's a quaint and interesting fellow, 
this homebody, B. A. Rolfe, of Radio- 



jletty White, although she 
is a very grown up young 
lady, always takes the part 
of the little girl when Rin 
Tin Tin is the hero in the 
famous dog feature series 
over the blue network. 

Rin Tin Tin 

For more than two years this famous 
dog has been taking the part of the 
hero in the Rin Tin Tin Thrillers — a 
series of radio melodramas. He 
creates his own sound effects and 
many a tear has been shed over his 
direful adventures. 



is on the Air to 
please you 



are near your 
home to serve you 


with Colonel Soodbody; 
George Rector; Judge Gor- 
don; "The 4 Singing Grocers". 

Honest-to-goodness food in- 
formation; a male quartette; 
travel stories; anecdotes about 
famous people and the Broad- 
way of the "Gay '90's" 

Daily except Sunday over dual 

NBC networks— WEAF, 8:45 AM 

EST; WJZ, 9:30 AM EST 


Harry Horlick conducting. 
Concert music; orchestral nov- 
elties; tenor solos; two piano 

novelties; gypsy songs — 

Monday 8 PM EST WEAF and 
NBC network 

*•- .t 

The Great 


Tea Co. 

"Pacific Qoast £choe£ 

By W. L. Gleeson 

ONE of the most unique programs 
ever heard by Western radio lis- 
teners was recently presented by Police 
Chief William J. Quinn, when he made 
an unusual test and demonstra- 
tion of the San Francisco Police 
Department radio system. This 
program was picked up and 
broadcast by NBC-KGO. 

KJBS, San Francisco, has 
made a real discovery in Miss 
Lea Vergano, accompanist for 
Kebern Ahaern, Irish tenor. 
Miss Vergano is an accomplished 
pianist, as well as being pos- 
sessed of a charming singing 

K F W B , 
Warner Bros. 
station in Cal- 
ifornia, has 
added another 
full hour's 
program that 
promises to 
dial in a lion's 
share of the 
radio audi- 
ence. It is 
the Minstrels 
of 19 3 2, 
Thursday eve- 
nings from Ray Paige 
8:00 until 

The hundreds of visitors that regularly 
visit the KNX studios in Hollywood to 
see and hear the Arizona Wranglers, are 
going to have to be good now. The 
Wranglers have all been made sheriffs. 

The oldest radio announcer in the 
world! Ever wondered who he is? Well, 
he is Harrison Holliway, manager of 
KFRC, although he is only 31 years old! 
This incongruous fact is qualified when 
it is explained that Holliway has been 
announcing since November, 

Marsden Brooks, KYA, San 
Francisco, staff artist, besides 
being a 'cellist of unusual abil- 
ity, is, by trade, an instrument 
maker. Many of the violins 
and 'cellos of his fashioning 
are being used by members of 
large symphony orchestras. 

San Diego has a program 
well worth listening to. It is 
Jay Eslick's orchestra. He is 
a well-known San Diego boy, 
heard regularly over KGB. 

KHJ, Los Angeles, has a 
smart new feature, 'The Blue 
Ridge Colonel." He is actually 
from die Yirginny, and some 

day his true identity may be announced 
by the station. 

More than five thousand boys and girls, 
and eight hundred and fifty adults wit- 
nessed the gigantic 
KFOX Radio Revue, 
held by that station 
in the new Long 
Beach Municipal Au- 

The old "Vagabond 
of the Air," of KLS, 
Salt Lake City, is 
now on KFRC, the 
Don Lee station in 
San Francisco. 

Miss Eddye Adams, 
late Mistress of Cere- 
monies of the Dorsay 
Club, New York City, 
^| is the young lady that 

is heard daily from 
12:00 to 1:00 over 
The popular KFRC evening pro- 
grams are now to be heard regularly 
over KDYL. Salt Lake City. 

Some people say that when big 
Eastern concerns go hunting for a 
Western maestro of Nat Shilkret's ex- 
cellence to conduct their Coast pro- 
gram, they always choose Raymond 
Paige, musical and program director 
for KHJ. Los Angeles, the Columbia- 
Don Lee key station on the Coast. 

Dr. F. C. 

Edna O'Keefe, 
KFRC, San Fran- 
cisco, Calif., 
popular and 


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When Rum Breaks 
Love Bonds 

(Continued from page 23) 

Grover home on the eventful evening of 
January 10th, with the engagement ring 
in his pocket, the girl's father and mother 
received him at the door and requested an 
interview before he saw the girl. At this 
interview they conveyed the appalling 
news of her condition and explained their 
plans for Rowena's sojourn in the dry 
climate of Arizona. Zook received the 
news man-fashion and declared that he 
would co-operate in every way. He de- 
livered the ring and spent a blissful eve- 
ning with the girl. She departed very 
shortly for Arizona. 

While she was away the defendant 
wrote to her frequently, giving her a good 
deal of helpful instruction concerning the 
best way to combat the disease. He also 
sent her books and pamphlets on the sub- 
ject. She returned in April, improved in 
health, and it was agreed that the mar- 
riage should occur in June. Very shortly 
after her return, however, she was stricken 
with appendicitis, and operated upon. She 
was confined in the hospital in a precari- 
ous condition until May 16. 

The shock of the operation and the 
drain upon her vitality had been so great 
that when the wedding date arrived mar- 
riage was quite out of the question. The 
date was changed to some time in the 
fall. The couple agreed that they would 
marry and go to the World's Fair in St. 
Louis on their honeymoon. When Sep- 
tember came the girl was quite eager to 
wed and to set forth on the honeymoon — 
World's Fair and all. 

No World's Fair Honeymoon 

ZOOK, however, expressed fears that 
she was not yet well enough to risk 
matrimony. He magnanimously offered 
to wait and to marry her when she was 
well. Did this generous offer appeal to 
the girl? It did not. She regarded her 
lover with consternation and amazement 
that he could find any fault with her 
alluring plan. If she had entertained any 
misgivings as to its wisdom, those mis- 
givings vanished at the first hint of re- 
luctance on the part of her lover. 

She argued, then passed from argument 
to reproaches and from reproaches to 
tears of rage. Her parents joined in the 
affair. To the reproaches of the girl they 
added their own, with the quite natural 
result that the young man, who had called 
in a mood to delay his own happiness out 
of tender regard for his sweetheart, left 
the house so filled with angry emotions 
that he was ready to renounce her and 
her family forever. 

There was no World's Fair honeymoon. 
While Zook called a number of times 
thereafter there was a marked coolness 
all around. In December of that year 
the young man wrote to the girl that all 
things considered, it would be a great 

mistake for them to marry. At the trial 
for breach of promise the jury apparently 
believed that Rowena had no rights unless 
it could be proven that Zook knew of 
her tubercular condition before the en- 
gagement occurred. The gallant twelve 
accordingly decided that the engagement 
did not occur until Zook returned with 
the engagement ring for which he had 
been given measurements by the girl her- 
self four days previously. 

When the case was carried to the Su- 
preme Court on appeal the court declared 
that even if the defendant knew of the 
girl's tubercular condition at the time of 
the engagement he would have had a right 
to break his promise because of the nature 
of her disease. A portion of the luminous 
opinion in this case is interesting. "Off- 
spring are the natural result, and ofttimes 
the chief purpose of marriage. * * * If 
the child born in health and with a body 
of vigor be a matter of deep concern to 
a parent, what must be said of the advent 
of a babe burdened with the hereditary 
plague of consumption? * * * That a 
mother seriously ill with that disease and 
a father with a hereditary taint thereof 
in his blood could bring forth a child 
exempt therefrom is unbelievable. * * * 
The dictates of humanity demand that no 
human compact shall be upheld that has 
for one of its principal objects the bring- 
ing into the world of helpless, hopeless, 
plague cursed, innocent babes. The de- 
fendant had a right to break his engage- 
ment and was not liable in damages. 

1 he Answer Is 

Jean Removes Mask 

(Continued from page 7) 

at the time she came in. He was trying 
out various applicants to sing the great 
torch song of the production. He looked 
at Jean and estimated her worth at a 

"Just the type," he said. "Can you 

Jean gave him her own interpretation 
of the St. Louis Blues. Further auditions 
were suspended for the day. That after- 
noon Jean. was presented with a contract 
to sign. Again she felt the final gasping 
twinges of the old mask. Her fingers 
shook as she affixed her name on the 
dotted line. But now the mask was off. 
Her mother came to stay with her during 

"We did everything to conserve our 
good luck," said Jean. "We kept old 
things around. Never threw away any- 
thing that might bring bad luck. We 
wore black chiffon nightgowns until they 
were in tatters." 

All the omens must have been good be- 
cause it was not long before she came to 
the attention of the Great Ziegfeld who 
was pleased with her comeliness and 
named her as his first discovery of a 
"radio personality girl." You will hear 
more of her when the program is resumed 
in the fall. 

Where have Olive Palmer and Paul Oliver 
gone? — Mrs. H. W. Morgan, 81 Colfax 
Street, Providence, R. I. 

ANS. Paul Oliver, otherwise known as 
Frank Munn, sings on the American Album 
of Familiar Music program every Sunday 
at 9:15 over WEAF. The Palmolive pro- 
gram has been off the air since the first of 
the year. Frank Munn is a brunette, medium 
height and plump, does concert work, is 
single and was born February 27, 1896. 
Olive Palmer is not doing any radio work at 

Will you tell me how Hilda Cole looks 
and all about her? — Mrs. May Sears, North 
Adams, Mich. 

ANS. Hilda Cole is a brunette, five feet, 
four; with well defined features and very 
striking eyes, and she is both gracious in 
manner and speech. She possesses a charm- 
ing personality and sells her fiction. She has 
attained distinction not usually reached by 
the average girl of twenty. Hilda is at pres- 
ent writing and acting for Columbia Broad- 
casting Company. 

What has become of my favorite radio 
entertainer, Ray Perkins ? — Mrs. Scott 
Gardner, 245 North Euclid Avenue, Saint 
Louis, Mo. 

ANS. Ray Perkins is on the Old Top- 
per program, Tuesdays and Saturdays at 
6:30 P. M. over WJZ, he can also be heard 
Tuesdays and Thursdays at 7:30 P. M. 
(EDST), over the NBC-WEAF network on 
the Barbasol program. This program is sup- 
plied with orchestral selections by Peter 
Van Steeden's musicians. 

Would you please tell me if Station 
KGMB in Hawaii belongs to the Columbia 
Broadcasting System? — Arthur P. Pfost, 
94-44 121st Street, Richmond Hill, N. Y. 

ANS. Radio Station KGMB is owned 
and operated by the Honolulu Broadcasting 
Company, Ltd., Honolulu, Hawaii. 

Can you tell me over what broadcasting 
station and at what time I can hear Ethel 
Merman? — Jack Lanski, 34 South 7th 
Street, Easton, Pa. 

ANS. Ethel Merman was heard over 
CBS twice, but we do not know where she 
is at present. 

Please answer the following questions 
about Pat Barnes, Bill Hay and Everett 
Mitchell. Are they married? Tall or short, 
blonde or brunette? What are their hob- 
bies? Age? — Betty Jeanne, Minneapolis, 

ANS. Pat Barnes is tall, slim, dark and 
about 37. He is married and his hobby is 
golf. Bill Hay is 5 ft. 11 ins., and blonde; 
and like Pat Barnes is also married and 
favors golf. Everett Mitchell is a brunette, 
5 ft. 10J4 ins., and is 33. He is also mar- 
ried but his favorite hobby is making ama- 
teur movies. 

Who are the Sylvanians? Who are the 
members of the Vermont Lumberjacks? — 
Mrs. Millie Sage, 304 West Hall Street, 
Sandwich, 111. 

ANS. The Sylvanians are conducted by 
Ernie Golden and also known as the Ron- 
doliers. Singly they are all soloists of repute 
and have filled either operatic or light opera 
roles on the musical stage. The members 
are Fred Wilson, first tenor; Royal Hallee, 
lead tenor; Hubert Hendrie, barytone; and 
George Gove, bass. Their pianist and ar- 
ranger is Charles ToucheUe. The names of 
the Vermont Lumberjacks are withheld by 
request of the sponsor of the program. 

Clem and Harry 

Clem and Harry, happy harmony team, 
heard each Saturday night on WLS for 
Kitchen Klenzer and Automatic Soap 

Do you listen to WLS? It's a 
happy, informal station with 
personality and individuality. 
You'll enjoy Clem and Harry 
and all the other folks who 
make WLS the Midwest's 
most popular station. 


Representatives on WLS Chicago, of 

Automatic Soap Flakes 

Saves the Clothes and 
Saves the Hands — and 


Hurts— Only Dirt! 

Every Saturday night from 10:15 to 10:30 Chi- 
cago Daylight Saving Time, listeners to the 50,000 
watt Radio Station WLS are entertained by Clem 
and Harry — purveyors of mirth, melody, and cleanli- 
ness, as representatives of the manufacturers of 
Kitchen Klenzer and Automatic Soap Flakes. 

These two products are lightening the work of 
countless housewives all over the country, as Clem 
and Harry, with their good-natured chatter, their 
close harmony, and laugh producing jokes, are light- 
ening the cares of their listeners. 

Clem and Harry invite you to listen to them each 
Saturday night — and to remember when doing so 
that "Kitchen Klenzer hurts only dirt, and always 
leaves the hands soft and white". 

The Prairie Farmer Station 


Main Studios and Office: 1230 West Washington Blvd., CHICAGO, ILL. 

All candy products having the distinctive shape of Life Savers are manufactured by Life Savers, Inc. 


Hop aboard our 'Magic Carpet" 
for a thrill-ride round the globe* 


fUST turn a switch and — z - i-p! we're off on 
a world tour via radio. Because it's a new 
no fussing and fumbling about — only one 
iial to tune, no coils to plug in, no trimmers 
to adjust carefully. Just use the convenient 
log furnished with the set and the foreign 
station you want — maybe 10,000 miles or 
more away — comes in on the dot. 

Let's Start to Merrie England! 

Let's try G5SW, Chelmsford, England. Get it any day 
between 3:00 and 6:00 P.M. Hear peppy dance music 
from the Hotel Mayfair in London (Yes, those Britishers 
furnish music that's as "hot" as any orchestra in the 
States!). Then, too, there are world news broadcasts 
that tell listeners all over the far-flung British Empire 
the news of the day in the homeland. At 6:00 P.M. 
(Midnight London time) it's thrilling to hear "Big Ben," 
in the House of Parliament, strike the hour of midnight 
in a sonorous voice. 

Foreign Reception Every Day in the Year 

Tired of rhe English program, eh? Like something 
French? That's easy — let's go to gay Paree. 

Here's Radio Colonial, Paris, France, and it is on the 
air for the SCOTT ALLWAVE DELUXE any day 
between 3:00 and 6:00 P.M. Hear those dulcet tones of 
a spirited Mademoiselle? What, you can't understand 
French? Never mind, here's an orchestra and a song. 
Music is a universal language. This is Monday — rhat's 
lucky, for there'll be an hour's talk in English today 
about the encampment of the Veterans of Foreign 
Wars to be held in Paris in 1935. 

10,000-Mile Distant Stations Guaranteed 

Unusual to get such reception? Not at all for this 
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because the SCOTT ALLWAVE DELUXE is a 
custom-made receiver. It is built with as much care and 

precision as a fine watch. There's skilled designing and 
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to carry a five-year guarantee against failure. 

Most Perfect Tone Quality in Radio 

Want to hear some more? Sure! Where do you want 
to go? Germany? All right. Here's Zeesen. It can be 
SCOTT-ed any morning between 9:30 and 11:00. From 
it you will hear about the grandest symphony concerts 
put on the air any place. You'll be glad your SCOTT 
ALLWAVE DELUXE has such exquisite tone. And 
it is exquisite tone! So perfect that, in a studio test, 
observers were unable to distinguish between the actual 
playing of a pianist and the SCOTT reproduction of 
a piano solo from a broadcasting station when the set 
and the pianist were concealed behind a curtain. 

15-550 METER 


Tired of Germany? Then let's jump to Spain on our 
"Magic Carpet." Here's EAQ, Madrid. Hear the casta- 
nets and guitars? Always typically Spanish music from 
this station between 7:00 and 9:00 P.M. You'll enjoy 
EAQ doubly because they thoughtfully make their 
announcements in both English and their native tongue. 

Opera Direct from the Eternal City 

Want a quick trip farther south? Here's Rome — 
12RO. The lady announcer's voice is saying, "Radio 
Roma, Napoli." From here, between 3:00 and 6:00 P.M. 
daily, you'll hear grand opera with its most gorgeous 
voices and with the finest accompaniments. 

So you want to hear what's doing on the other side 
of the world now? That's easy, let's get up early and 
pick up VK2ME, from Sydney, Australia, any Sunday 
morning between 5:00 and 8:30 A.M., or VK3ME, 
Melboutne, any Wednesday or Saturday morning, 
between 4:00 and 6:30 A.M. Hear the call of the famous 
bird of the Antipodes — the Kookaburra. There'll be 

an interesting and varied program, music, and always 
a talk on the scenic or industrial attraction of the 

Australian Stations Sound Close as Home 

Can I get Australia easily? Why, of course you can! In 
a test didn't one SCOTT ALLWAVE pick up every 
regular program from VK2ME in Chicago, 9,500 miles 
away, over a whole year's time? Quite a tecord? You bet! 
And what's more, the programs received were recorded 
on phonograph records, and one was even played back 
to Australia over long distance telephone, and they 
heard it clear as a bell! That's performance! 

These are but a few of the more than 200 foteign 
stations that may be heard by SCOTT owners. 

Tired of foreign travel? Well, let's jog about the 
STATES — or Canada or Mexico — on the regular 
broadcast frequencies. Wonderful? You bet! There was 
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teur wireless telephony fans. Your fun with a SCOTT 
ALLWAVE DELUXE is unlimited. 

New Values! Prices Lowest Ever! 

Too expensive for you? Not at all! A SCO 1 1 ALL- 
WAVE DELUXE won't cost you more than any good 
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You'd like to know more about it — the technical 
details, and proofs of those wonderful performances? 
Easy! Just tear out the coupon below, fill in your name 
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4450 Ravenswood Ave., Dept. Dl 12 Chicago, 111. 

Tell me how I can have a SCOTT ALLWAVE 
DELUXE for a "Magic Carpet" of my own, and send 
me complete technical details, proofs of performance, 
and complete infotmation. 



NOV -8 133? 

©C1B 171259 



BEGINNING with this issue you 
should be able to obtain your 
Radio Digest regularly. Reorganiza- 
tion of our production department 
has been completed. Radio Digest 
will be found on many thousands of 
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before, and will not be found at other 
stands where it has been in the past. 
If you are unable to find Radio Digest 
at a convenient stand it would be best 
for you to SEND IN YOUR SUB- 


Enclosed please find for one 

year's subscription to Radio Digest 

beginning with the issue. 




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Price $|00 

' Complete, Postpaid 

Every Instrument Tested on 
Actual 1127 Mile Reception 

A Large Number Are In Use by 
Government, in Navy Hospital 
The F. & H. Capacity Aerial Eliminator 
has the capacity of the average 75-foot 
aerial, 50 feet high. It increases selectiv- 
ity and full reception on both local and 
long distance stations is absolutely guar- 
anteed. It eliminates the outdoor aerial 
along with the unsightly poles, guy wires, 
mutilation of woodwork, lightning haz- 
ards, etc. It does not connect to the light 
socket and requires no current for opera- 
tion. Installed by anyone in a minute's 
time and is fully concealed within the set. 
Enables the radio to be moved into differ- 
ent rooms, or houses, as easily as a piece 
of furniture. 

This instrument is for sale at all Gamble 
Stores, Neisner Bros. Stores or you may 
order direct. 

— — — Send Coupon it protects you — — — 



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Send one !•'. & H. Capacity Aerial with privi- 
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Printed in U. S. A. 

Raymond Bill, Editor 

Harold P. Brown, 

Managing Editor 

Charles R. Tighe, 

Associate Editor 

Henry J. Wright, 

Advisory Editor 

Nellie Revell, 

Associate Editor 


plays straight for Fred Allen, CBS. 

rence Tibbett's passion is climbing. 

SINGING SISTERS. They come to 
radio in droves and trios. 


fights them in the morning. 

PRICE OF A LAUGH. But it cost 
Georgie plenty worry to get started. 

BE A BARBER, and See the World. 
So Johnny Marvin was and did. 

cracker gives his personal slants. 

LOVELY LADY. Catherine Mac- 
kenzie married the editor and has 
own column. 


Special "Colored Supplement." 
MARCELLA. She hears all and tells 

all for benefit of listeners. 
CBS MAESTRO AT 17. Buddy Har- 

rod tries to look older than he is. 

pen in hand and ivrites things. 

song hits by our own expert. 
EDITORIAL. Current view of the 

broadcasting picture. 
LOIS BENNETT, portrait and a 

word picture of a charming singer. 

news from broadcasters everywhere. 

Trouper reveals the "awful facts." 
EATATORIAL. Famous raconteur 

chats and hints a savory dish. 

Charles Sheldon 

John Rock 6 


Rosemary Drachman 1 

Leonard Stewart Smith 16 

Earle Ferris 19 

Peter Van Steden 20 

H.S.Cole 21 

Marshal Taylor 22 

Marcella 24 

Ted Deglen 2 5 


Rudy Vallee 28 

Ray Bill 30 

Nellie Revell 33 

Charles R. Tighe 37 

Helene Handin 44 ' 

George Rector 47 

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Radio Digest. Volume XXIX. No. 4.' November. 1932.' Published monthly nine months of the year and bi-monthly 
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RADIO ART is issued semi-monthly — twenty-four times a year. 

Twists and Turns 

With Radio People and Programs 

By Harold P. Brown 

HAVE you heard the Maxwell 
Showboat program? Of course 
you have, and you liked it. It's 
one of the best please-every- 
body programs yet produced, thanks to 
the sponsor and thanks to Tiny Ruffner 
who knows how to stage a 
radio show when he has the 
money with which to do it. 
And it's going to keep going 
for 52 weeks. It marks a 
trend toward the longer pro- 
grams and greater variety. 

Lanny Ross is the hero of 
the story, and Lanny Ross is 
the hero's real name. Tiny 
Ruffner, however, did some- 
thing with the character, and 
with the character of the 
sweetheart, which nobody else 
ever thought of for radio. He 
used two specially trained 
voices for the same person, 
and that was real artistry in 
radio dramatic character 

Lanny has been winning 
popularity by leaps and 
bounds. His voice is superb 
and he has a likable personal- 
ity that gets over. All who 
participate in the program 
are genuine artists — and 
there are 58 on the list. Pick 
Malone and Pat Padgett as 
Molasses and January are 
great favorites in the East 
and now they are getting 
their chance to become great 
radio characters nationally. 
Charles Wininger, as Captain 
Henry, and Jules Bledsoe, 
and the Hall- Johnson Singers 
are great and made-to-order 
for a showboat program. At 
the premiere everybody was 
in costume. The picture in 
the center of this page shows 
Lanny Ross as he appeared that night 
when the photos were taken. 

"T TOW do you get all those compli- 
JLJL cated ideas for the Snow Vil- 
lage sketches," I asked Arthur Allen 
one night after his broadcast. "Want 
I should tell you 'bout that?" responded 
Mr. Allen who is much better known to 
you as "Uncle Dan'l." We were in the 
press relations department of NBC in 
New York. To look at Allen you never 
would suspect he is the visualized sep- 

tuagenarian in Snow Village. In fact 
he appears slight and dapper, neatly but 
not flashily dressed. You'd say he might 
be a junior banker or a bond salesman. 
But the minute he speaks you hear 
"Uncle Dan'l" himself from the inside. 

Lanny Ross 

"Why don't you get the man who writes 
the script to write you how he does it?" 
he asked. He volunteered to put it up 
to William Ford Manley. And now we 
have just heard from Mr. Manley so 
that you will read all the low down on 
Snow Village in your next Radio Di- 
gest. And you'll be surprised to learn 
that it's not all just imagination. 

TALK about spreading education by 
radio — let's take off our hats to 
that grand old school master of the air, 

Walter Damrosch ! It's nine years 
since he first stepped before a micro • 
phone. Now he has just resumed his 
fourth year teaching a class of 6,000,000 
young Americans how to understand 
and appreciate the best that is in music. 
It was a real "first day of school" when 
he spoke to his class Friday, Oct. 14, 
at 11 a. m., EST., "Good morning, my 
dear young people." He has the capac- 
ity to envision this great panorama of 
school rooms before him as he speaks. 
The mechanics of the studio are all 
blurred out. He is the enthusiastic and 
devoted schoolmaster before his pupils. 
In many western cities where the pro- 
gram comes before the regular school 
day begins children come an hour early 
to hear him and the NBC Symphony 
orchestra under his direction. 
Damrosch as a personality 
has become an American in- 
stitution. Children who have 
come to know him as the 
voice of a great man will b& 
proud to speak of him to gen- 
erations yet to be born. 


NE of the most salutary 
social benefits of radio 
is the abatement of race 
prejudice. Color or creed 
seems to make little difference 
to the listener so long as he is 
getting what he wants from 
the program. Take the case 
of The Three Keyes recently 
given a place on the NBC 
schedule. G. W. "Johnny" 
Johnstone tells me that he 
happened to hear them over 
some small station in Penn- 
sylvania which he had tuned 
in at his home by accident. 
He was convinced they were 
worthy of network attention 
and sold his office on the idea. 
So the Three Black Keyes 
stepped almost over night 
from obscurity to national 
fame. Did it turn their heads ? 
Not a whit. Major Bowes 
booked them in October for 
his Capitol theatre on Broad- 
way. That was just some- 
thing funny for The Three 
Keyes, nothing to be excited 
about. Old timers who have 
been on the stage for years 
building stage personality 
stood in the wings and fairly 
gasped at the nonchalance of these hum- 
ble sons of Africa. With absolute sim- 
plicity they stepped out and did their 
bit, and the way in which they did it 
brought the house down in the most 
prolonged applause of the whole show. 
Their instantaneous acceptance seems to 
rival that of their predecessors, The 
Mills Brothers, on the Columbia net- 
work who also have triumphed in a tour 
of stage presentations. Radio is giving 
unknown and undiscovered colored , 
its first opportunity. 


YOUNG women who live within the golden circle of the gilded social set have 
cast aspiring eyes toward the radio studio. Parents frown on the theatre. 
The concert and operatic stage are in such a rarified atmosphere that a young girl 
must make very elaborate preparation if she hopes to carve a career in these arts. 

But radio is different. And now the debs with really fine talent are being heard 
on many of the most popular stations. Among the recent aspirants in this line is 
Miss Nancy Mills Whitman of Brookline and Boston, Mass. She is one of those 
on the select list who have been heard with the Jack Denny orchestra on his 
Debutante Hour, which resumed broadcasting at the Waldorf-Astoria, Oct. 27. 



« » 

Formerly of the 
Radio Program Service 

« » 


Opening of 



333 N. Michigan Ave. 

For the writing, casting, and 

producing of DRAMATIC 


Creator of 


Lawrence Tibbett 

HERE is a good life-like portrait 
of Lawrence Tibbett the Cali- 
fornian who went East and made 
good with the Metropolitan Grand 
Opera in New York, and subsequent- 
ly became world-famous as one of the 
greatest of baritones. He is now 
busily engaged in rehearsing for the 
new opera, "Emperor Jones." 


O/JXountains ! 

Just Give Lawrence Tibbett a few tall Peaks to Climb and He 11 Be Perfectly 
Happy — His Life Has Been Like That as Lie Ascended Artistic Heights 

I"~^IBBETT night was ladies night 
on the air last season when the 
great operatic baritone served 
the Firestone hour so handsome- 
and expensively. But you'll never 
get a Firestone to say he wasn't worth 
the money. Hook up that Tibbett voice 
and that Tibbett personality with a 
classy tire in the public mind and you 
have something deluxe in radio selling. 

Although the blondes and brunettes 
preferred Lawrence Tibbett the mere 
male in the audience was not unhappy. 
Tibbett is a regular he-man, masculine 
through and through. His boundless 
energy, his voice, virile physique, his 
typical American spirit of independence 
gave him that something which cen- 
tered the dials on the hour set for his 
arrival. He has climbed to the heights 
just as he used to climb the mountains 
that he loves. 

Well, the opera season is almost here 
again. The success of last year's pres- 
entation of Metropolitan Opera by 
radio has assured its return to the air 
again this year. And Lawrence Tibbett 
will be heard therewith. 

Since his return from Europe a few 
weeks ago he has been applying himself 
to rehearsals of Eugene O'Neill's 
"Emperor Jones" which, as you prob- 
ably know, has been set to music on the 
grand scale by Louis Gruenberg. By 
"applying himself" we mean applying 
himself in the Tibbettian manner, which 
is nothing short of 97.44 application. 
Tibbett is a terrier for persistence in 
following through on what he sets out 
to achieve. He had his little vacation 
across the sea, yes call it honeymoon if 
you like ; then he came back ready for 
business. He was, of course, deluged 
with calls by phone and in person by 
his too fond admirers from the day he 
checked in at the Savoy Plaza. Now, a 
leading baritone with a brand new opera 
on his hands can't literally be every- 
where and do everything at once, ardent 
biographers to the contrary notwith- 
standing. And a Lawrence Tibbett with 
the traditions of pioneering Americans 
for his background can't and won't turn 
high hat, even for grand opera. 

But rehearsing is a job, just as much 
of a job as plowing a field — and some 

By John Rock 

who've tried both say it's even more. 
You have to watch the furrow and keep 
your hand on the plow handle, even 
though the plow is a prop and the fur- 
row is a dingle of footlights along the 
front of the stage. That's why the 
Tibbetts checked out of the Savoy Plaza 
and moved into a quiet little apartment 
over on West Fifty-seventh street. 
(Don't think we're going to give their 
secret away by revealing the exact 

X^knew he could sing. The World 
War interrupted his plans for a little 
while but he persisted in his determi- 
nation to climb, and then he was 
suddenly — over night — up the grade 
and on the pinnacle of fame. He has 
kept his head level through it all and 
remains the typical American as he 
was born. 


OW if you want to 
know a little more about the Lawrence 
Tibbett background, conceding, of 
course, that if you are a genuine Tibbet 
fan you probably know more details 
than we do. He's a regular Westerner. 
His forbears trekked the ghastly trail 
of the covered wagon during the Gold 
Rush of 'Forty-nine. His father, Wil- 
liam Tibbett, was sheriff of Kern coun- 
ty, California. Lawrence was born in 
Bakerfield, November 16, '96. Before 
Lawrence had become more than 
a really small boy his father was shot 
down and killed while in pursuit of 
an outlaw. His grief-stricken mother 
gathered her small brood about her and 
moved to Los Angeles. It became the 
passion of the mother's life to give her 
children greater cultural opportunities. 
She sang, and she taught her three boys 
and a girl — to sing. All children had 
exceptional voices, a definite inheritance 
from their mother. 

As for young Lawrence his voice was 
the strongest part about him. Physically 
he was somewhat handicapped. But he 
had a fierce and determined will. He 
made up his mind that he could make 
himself strong by plenty of exercise, 
and plenty of outdoors. He made good 
progress, and as he grew older he ac- 
quired a fondness for the mountains, 
and mountain climbing. Pinnacles were 
his delight. Three times he has climbed 
the 10,000 feet to the peak of San 
Jacinto, near Palm Springs. It's an all- 
night hike to reach this peak in time to 
see the sunrise. He loves a horse and 
today he reckons among- his fondest 
memories the time he served as a cow- 
boy on his uncle's ranch in the Tejon 
mountains. And still, while we are with 
Tibbett on the mountains, it is worth 
mentioning that when he sings for the 
sheer joy that is in his soul he asks for 
no better place to do it than on the top- 
most crag of the highest mountain 
around. Give him an echo from an 
opposite peak and his joy is supreme. 

Naturally someone wants to know 
when the Tibbett chap began to have 
operatic yearnings. It began in his 
adolescent youth when he looked with 
longful pride upon his older brother, 
Jesse, who was a star in a local musical 
stock company. Ah to be a star with 
a musical stock company ! Why must 
some people have all the luck ! Just to 
be born with a singing voice— that was 
luck ! He might have a voice himself. 
Well ? And then a stranger who heard 
him singing with the other children in 
school said, "That Tibbett boy should 
have his voice trained. It's getting 
good." The teacher told Lawrence and 
Lawrence said, "If you really think it's 
worth training I'll train it." And that 
was how it started. 

His first conception of a good voice 
was one that would produce the greatest 
amount of volume. Quality was taken 
for granted. To pour his soul into his 
voice gave him an intense feeling of 
exaltation. He would become great, an 
actor, a composer, a writer ... he would 
conquer the world one way or another. 
A great magnetic force generated within 
(Continued on page 48) 



THIS is a hard year for the families who only 
have one or two sisters, because it takes three 
to have a harmonising trio and harmonizing trios are 
sitting on top of the world. People like to hear them 
and there should be more of them because so far all 
the trios do pretty much the same stuff, following the 
astonishing success of the Boswell Sisters. 

While only three Sister trios are shown in the pic- 
tures here do not take it for granted that there are 
no more. They arc heading for the key stations in 
New York from all directions, even hoping off the 
boats just in from England, France, Germany, Rus- 
sia, Spain and South America. 

But no matter where they come from the most of 
them have to stand to one side for the soft voiced 
sisters from the Southland. It's born in them, a 
plaintive szveetness, engendered by growing days un- 
der sunny skies where Jack Frost never comes to 
harden the vocal cords with his icy breath. 

Pickens & Pickens & Pickens 

"TX 7"E lead a happy life, we 'slim Pickens', as some- 
» ' one has clubbed us," said Jane Pickens, re- 
cently. "We are happy because we can sing. We have 
been singing ever since we were old enough to coo. It 
was part of the plantation life down in Georgia where 
we lived. It seems only a little while ago that we were 
children tagging along behind the negro workers in the 
field as they wielded their hoes in rhythmic unison 
through the cotton rows. They would sing and rock 
their bodies in time with the leader who worked ahead 
of them: 'Rock, rock, rock, jubilee!' was a phrase they 
would repeat over and over again." In spite of training 
by the best of teachers the Pickens Sisters still go back 
to those early impressions when they make their ar- 
rangements for broadcasting over the NBC network. 

Jane, Patti and Helen — a 
row of Pickens f'm Gawja. 

Connie, Martha & Vet 

THESE pioneering Boswell Sisters have become so well known to 
practically all radio listeners it seems superfluous to biography 
them. Their dad .did not bring them up to be harmonizers — he had 
them booked for high-brow classics. But one day he had to leave 
New Orleans for a trip to Florida. And while he was gone these 
torrid little daughters hopped over the fence and with the aid of a 
saxophone browsed on the luscious hot tunes of the levee. Nothing 
in music was ever written just right for them so their familiarity 
with academic music made it possible for them to do their own ar- 
rangements. Then they were invited to sing at WSMB. After that 
they found other engagements and when their dad got back from 
Florida he was the most astonished man you ever saw. But he sur- 
rendered and they went from one success to another — North, West to 
California and finally to New York where they scored their greatest 
radio triumph. They still do their own arranging and have a reper- 
toire of about 400 songs. You hear them in Chesterfield programs. 

Martha, Vet and Connie, 
and every one of 'em a 
Boswell (up till now, 
anyway). That name 
"Vet" stands for Helvetia. 


IF YOU know your algebra you know 
what that "X" stands for — the un- 
known quantity. For some reason or 
other these "Three X" Sisters don't 
want their names published. The ques- 
tion as to whether they can harmonize 
or not is pretty well known, as they 
had not been on CBS a week before 
they were sought for records and 
movies. But they had to go to Europe 
to gain their first recognition. There 
they were acclaimed in a whirlwind 
tour of harmony and cross-fire chit- 
chat. Reading from left to right they 
are: X, X and X. You're welcome to 
the information. X is the prettiest. 


eerio and 

By Rosemary 

SEVEN years ago out in California 
a certain man was walking down 
the street to his office. On the 
way he dropped in to see a friend. 

"How are you, old man?" he said. 
"Hope you're feeling better." 

And he stayed to chat a few minutes, 
and when he left the friend said he did 
feel better and thanked him for the visit. 

Nothing remarkable in that, is there? 
The certain man went on walking to- 
wards his office, feeling a glow because 
he'd been able to do some one a kind- 
ness. It came over him that there must 
be a lot of sick persons in the world, 
and not only sick persons, but sorrow- 
ing persons, lonesome persons, down- 
hearted persons, worried persons — all of 
them in need of just such a boost as he 
had a little while ago given to his sick 
friend. He wished he could by some 
magic means reach all those persons, 
give each one of them some comfort. 

Nothing remarkable in that thought 
either. At times we have all wanted 
to be knights to the rescue, have all 
wanted to go out and save distressed 
damsels from the dragon. The remark- 
able thing is that this certain man did 
something about it. 

He went to talk to his friend, Ray 
Lyman Wilbur, then President of Stan- 
ford University, and now Secretary of 
the Interior. Probably the conversa- 
tion went something like this : 

"You know, Ray, there are a lot of 
folks in this world who can't make 
physical daily dozens every morning but 
who need mental' daily dozens to start 
their day so that it will be easier to go 
through it." 

"More than that, as we physicians 
know. (Dr. Wilbur is a past presi- 
dent of the American Medical Asso- 
ciation.) When a doctor goes to his 
patient he has to carry something with 
him that isn't in his black bag, and that 
he didn't learn in medical school. But 
it isn't only his patients that need what 
we're talking about. Lots of persons, in 
good health, are what we call 'sub-nor- 
mal' on one morning or another. They 
need some outside spur." 

"Why can't I reach those people by 
radio ?" 

"You can. And I will help you. It 
would do an immense amount of good." 

(There is a legend abroad that 
Cheerio instituted this program in mem- 
ory of his mother who had been an in- 

J AST season Miss Drachman, as 
^\~J an expert in historical research, 
had occasion while examining old 
books and files to become well ac- 
quainted with the man whose voice 
is that of Cheerio. She was greatly 
impressed with his absolute sincerity 
and noble purpose. This article is the 
result of her observations. 

valid. The facts are that when this 
interview with Dr. Wilbur took place, 
Cheerio's mother was in good health. 
Before the first program actually went 
on the air she- had been stricken in her 
last illness, and thus became, by a dra- 
matic turn of fate, the most important 
member of that audience for whom he 
had conceived his service.) 

And so, to the air ! The rescuing 
knight on a new kind of steed. Have 
at thee, dragon ! Every morning over 
a California station that certain man 
was there to send out his message of 
cheer and comfort and courage to the 
"somebodies somewhere" who had need 
of what he had to give. 

"Cheerio," he called himself. 
"Cheerio" — meaning "Good Luck" and 
"Aloha" and "Keep a stiff upper lip," 
and a whole lot of other heartening 
things like that. 

The program was simple. A few 
inspirational poems, some wise sayings, 
some sound and simple philosophy — the 
whole strung together by a chain of gay 
nonsense and delivered in a voice that 
was sympathetic and intimate. The re- 
sponse was immediate. Thousands of 
letters proved how needed was this daily 

mental dozen, these sword-thrusts at the 

Then after he was well started, an- 
other friend, no less a person than the 
then Secretary of Commerce and Chief 
of Radio, Herbert Hoover, heard this 
good will broadcast. At once he said 
to Cheerio that he, like any successful 
business man, should have a wider mar- 
ket for his goods. It made no difference 
that his goods were for gift not for sale. 
He should have a larger field. He 
should be on a national hook-up, reach 
hundreds of thousands where he now 
reached thousands. 

With Hoover's encouragement, 
Cheerio came to New York. He got to 
the high officials of the National Broaa- 
casting Company. 

Said Cheerio, "I want to kill drag- 
ons." Oh, no, he didn't say it in just 
those words. But he told them about 
his idea, his program that would reach 
the shut-ins, the sick, the down-hearted, 
the afflicted. He explained it all very 

What puzzled the broadcast officials 
was that this certain man wanted to give 
his services and wanted to remain 

"What," they asked, "no cash, no 


-•HEERIO told them he 
wanted neither, that his salary would be 
the letters of his listeners, that his fame 
he'd receive as Cheerio and not under 
his own name. 

"All right," they said, "put on your 
program. We'll give you fifteen min- 
utes over one station, WEAF." They 
were surprised that he wanted early 
morning time. They said no one lis- 
tened early in the morning. But Cheerio 
knew that the time for mental daily 
dozens was the first part of the day. 

He got together several artists who 
were willing to be fellow dragon-slay- 
ers. There was Russell Gilbert, a busi- 
ness man who had at one time been in 
vaudeville, and who said he thought he 
might manage to sing a few songs and 
tell a few jokes every morning on the 






program before he had to be at his 
office. There was Geraldine Riegger, 
the deep-voiced contralto, a pupil of 
Madame Sembrich. 

On March 14, 1927, quite unheralded, 
the three of them went on the air in 
their little fifteen minute program from 
8 :30 to 8 :45 on just one station. 

That was over five years ago. The 
original group of three has grown to 
sixteen. The soprano, Mrs. Russell 
Gilbert joined her husband during the 
first week. There is Pat Kelly, the 
tenor, and Harrison Isles with his or- 
chestra of seven — the "Little Peppers" 
as they are called — Miss Elizabeth 
Freeman and her two singing canaries, 
and Loyal Lane who works the controls. 
Dr. Crumbine, general executive of the 
American Child Health Association, 
comes in every Thursday to give a talk 
on child health. For years his associa- 
tion financed the office expense con- 
nected with the Cheerio program for the 
sake of the good that comes to children 
from the inspiration given to their 
mothers during that quarter-hour. 

The time has been increased from 
fifteen minutes to a half hour and the 
stations from one to thirty-five, taking 
in practically the entire NBC network 
for the eastern and central zones. From 
Canada to Florida, from Maine to 
Texas, at 8 :30 eastern time every week- 
day morning, listeners may tune in to 
Cheerio for help against their partic- 
ular dragons. 

And what dragons Cheerio scotches ! 
Anyone who listens to the programs and 
hears some of the letters read knows that. 


,ITTLE dragons that are 
more annoying than harmful. For in- 
stance, the dragon called "Oh what 
drudgery housework is!" Writes one 
woman : "I don't mind doing the dishes 
now. I carry my loudspeaker into the 
kitchen every morning." 

The dragon called "That tired feel- 
ing." "I am a busy night nurse and I 
hurry home every morning to hear you, 
and feel so cheered up after the strain 
of the nisrht," writes another. 

The dragon called "The blues.' '1 
used to get so low that I'd be clean in 
the cellar before hubby came home. 
Now he gets a pleasant 'hello' instead 
of a grunt." 

The dragon called "Never having any 
time." "If it weren't for Cheerio my 
family would be running around with 
safety pins holding up their pants. 
That's the time I darn and sew." 

The dragon of loneliness. "I live in 
the house for old ladies in Atlanta, 
Georgia. You should see me getting 
up early so as to have my room in apple 
pie order when you enter. For I play 
like you all come to see me and I like 
to have my room ready to receive you 

The dragon of ill health. "When I 
was eight years old, Old Man Infantile 
Paralysis paid me a visit. I was left 
with two legs, one side, and one arm 
paralyzed. But thank the Lord he did 
not get all of me. I have still got one 
good arm and my head left." 

The dragons of great affliction. 
"Twenty years ago this Thanksgiving 

CHEERIO has his helpers to paint the morning sky with sunshine. From left : 
Riegger, Lovina Gilbert, Patrick Kelly and Harrison Isles — and 

Wallace Magill, Geraldine 
the Canaries. 


Day a son was born to me. Then in 
August, 1921, when not quite three 
years old, the boy was kidnapped. In 
all the years since I have never found 
him." And from another letter, "I have 
lost my wife and little girl and have 
been unemployed for eight months. Do 
you wonder why it is so hard to smile ? 
But I always tune in now before I go 
out looking for work." 

Those are only a few of the letters 
that show the work that Cheerio and 
his Cheerio family are doing. Hundreds 
of thousands more have come in to 
prove how needed was that spiritual 
pick-me-up that is now available on the 
air every weekday morning at 8 :30. 

And no one can guess how many 
dragons are killed with the mere writ- 
ing of those letters. It's a method of 
"getting it out of one's system," a 
method approved by both doctors and 

The letters are answered, too. Per- 
haps not with a mailed reply. But over 
the air comes a message in Cheerio's 
clear, understanding voice. "I am 
speaking to you" he says. And happily 
"you" in the English language, is both 
singular and plural. Each listener may 
take his words personally. 

Cheerio takes no money for his serv- 
ices. It is a labor of love. NBC fur- 
nishes the network and is now paying 
the artists, although for a long time the 
Cheerio studio family worked for no 
pay or for very little pay. 

Nor will Cheerio let the program be 
sold to a sponsor. The Cheerio hour 
is meant for "somebody somewhere" 
who might need help in starting the day 
right. The commercial element is kept 
out of it. Cheerio believes that the sin- 
cerity of purpose which started this 
service is the rock upon which it con- 
tinues to stand — the freedom from any 
other purpose whatever is the ever- 
present guaranty of that sincerity. 


OR the same reason 
Cheerio wants to be known only as 
"Cheerio." Not because he wants to 
build up a great big mystery about him- 
self, and so gain a sort of reverse pub- 
licity, but because the ballyhoo which 
is a part of any publicity — what he eats 
for breakfast, where he buys his ties, 
what he looks like, what his hobbies are, 
etc., etc. — would, in his opinion, inter- 
fere with the good that the program is 
now doing. 

The reason for his impersonality is 
as simple as that, although many have 
tried to find a catch in it. 

As Cheerio has said himself over the 
air, he is a man who is fortunate enough 
to have become a channel through which 
comfort and courage can flow to in- 
numerable somebodies somewhere. Just 
as some other men have become chan- 
nels through which a grand piece of 
music, or a fine painting, or a great 

book reaches innumerable persons. The 
musician, the painter, the author would 
all fight against anything that would 
spoil their work. So Cheerio fights to 
retain his impersonality. He knows he 
does most good that way, is more help- 
ful to more people by being just a voice. 
As one woman says, "I have such a 
fine picture of you in my heart I don't 
want it spoiled. Every day I see you 
in a different way." And from another 
letter : "My good husband is a sea 
captain, and each morning when you 
say, 'Be happy all day long,' then, 
Cheerio, it seems my good husband 
speaks." And from still another : "You 
seem a Peter Pan. I imagine you dressed 
that way with a beautiful dark blue vel- 
vet cloak thrown around you, the cloak 
covered with silver stars, the border of 
misty ermine clouds." 

Sunbeam, one of Cheerio's little trillers. 

Naturally there are many rumors 
about him. "They say" he is a very 
wealthy retired business man. "They 
say" he is a minister. "They say" even 
that he is a prominent politician who 
will some day reveal himself and run for 
president. And a little girl writes, 
"Mum says you are Santa Claus and 
that when you leave the studio you 
hurry to your office to make me toys." 
Cheerio never affirms or denies such 
rumors, although it is likely that the 
one about Santa Claus tickles his vanity. 

The scheme of the Cheerio hour is the 
birthday breakfast. To this imaginary 
birthday table are invited all those 
whose birthday is on that day. The 
special guests are the famous ones of 
the past and present and they are hon- 
ored by having their works read, or 
their songs sung, or their compositions 
played. But not only the famous are at 
this birthday breakfast. Every "some- 
body somewhere" whose birthday is on 

that day is sitting in spirit at the birth- 
day table. And those birthday guests 
whose age is ninety or over are given 
special mention. 

The "Gay Nineties," Cheerio calls 
them, and over the air go greetings to 
"somebody's dad in Canton, Ohio," and 
to "somebody's grandmother, ninety 
years young, in Brookline, Massachu- 
setts," and to "somebody's uncle, a Civil 
War veteran, in San Antonio, Texas." 
Only the birthday guest's residence is 
given, but as each city is mentioned, one 
can see the birthday guest beaming with 
joy and pride. 

X. OR those who attain the 
grand age of one hundred the name is 
given. "Our guest of honor, Aunt 
Martha Hopkins of Newcastle, Maine, 
is quite a remarkable youngster of one 
hundred today. Three rousing cheers. 
Hip, hip, hooray!" 

That's another dragon that Cheerio is 
scotching, the dragon of old age. Lis- 
teners of sixty and seventy feel like 
two-year-clds after hearing so much 
about the gay nineties and the hundred 
year youngsters. As some one wrote, 
"We used to think our mother was old, 
but now we've taken her down off the 
shelf, dusted her off, and told her she's 
nothing but a chicken." And another 
woman wrote, "I'm sixty. I was feel- 
ing old but when I heard your birthday 
party for hundred year old Granny Wil- 
kins, I said, 'Old, my goodness, I'm just 
a little more than half her age and she's 
young yet.' " 

Anniversaries are celebrated, too. 
"The Honeymoon Special," Cheerio 
calls his list of those who have been 
married for fifty years and over. Thos? 
who have been married sixty years and 
over are mentioned by name. 

And there is a horoscope, too, and a 
special birthday wish in which every- 
one joins. "Ready. Concentrate. Every- 
body wish," says Cheerio. A gong is 
struck, and over the land in thousands 
and thousands of homes listeners are 
sending out their good wishes. Who 
can calculate what that wave of good 
will is doing? 

And another dragon nailed to the 
mast is the dragon of selfishness. Wrote 
a listener : "The first day I wished for 
happiness for myself, the next day for 
my family, the next day for the whole 

Of course there are those who do not 
have, or think they do not have, any 
dragons to be scotched. And to these 
Cheerio is nothing more nor less than 
the bunk. What they don't write in and 
call him! "Pollyanna." "Sob sister." 
"Professional cheer-up." "The com- 
plete bore." "Peddler of pabulum." 
"The hot-air king." "Nothing more nor 
less than a dull aching sensation in the 
neck." "Someone adoring the sound of 
(Continued on page 48) 


Queen of the Air 

JESSICA DRAGONETTE continues to reign supreme as the best loved 
singer in the Realm of Radio. Portrait shows her as she appeared on the 
Edison Fiftieth Anniversary program in the frilly-f rillie's of the Seventies. 


Irene Taylor 

Jiigh lig h ts 

PAUL WHITEMAN has again established his leadership 
during the current season and by the time this reaches you 
he will have launched his new program, the Buick Travelers 
from WEAF over an all-nation network. With him will be his 
charming entertainers including the especially charming Irene 
Taylor who joined the NBC in Chicago last year. Paul met 
her there and upon his return to New York succeeded, only a 
few weeks ago, in having her annexed to his staff. The three 
Sundays that Whiteman left the air for his rehearsals in Car- 
negie Hall brought an avalanche of mail from protesting listen- 
ers in all parts of the country. The new Buick Travelers series 
will take up the period formerly utilized by the General Motors 
for their Parade of the States, which concluded Oct. 17th with 
the forty-eighth and final tribute of the series. The program 
begins at 9:30 p. m., EST, every Monday night and will con- 
tinue along the high standard maintained by General Motors 
on all of its programs. 

Paul Whiteman 



SAX ROHMER himself came over from England to 
make sure that his famous characters in the mys- 
tery stories of Dr. Fu Manchu should have the best 
possible interpretation in their radio dramatization over 
the Columbia network. John C. Daly, veteran British 
actor, is taking the part of Dr. Fu Manchu by personal 
endorsement of the author. All other characters are 
equally well chosen. Miss Sunda Love who has been 
assigned the part of the beautiful slave girl. 

Sunda Love 

John C. Daly 


Cjfpe <UKe < 

By Leonard Stewart Smith 


NCE upon a time," said 
Georgie Price, between 
bites into his curried 
chicken a la Sardi, "I used 
to love to see my 
name in lights over a 
theatre. But not to- 
day. I'd much rather 
see it in the 'Today's 
Best Programs' box 
on the radio pages of 
the newspapers." 

That was Georgie's 
way of answering the 
adulations whic h 
were being heaped 
upon him as we sat 
in the famous New 
York rendezvous at 
luncheon the day it 
was announced that 
Georgie Price had 
broken the house 
record for the sea- 
son at the Para- 
mount Theatre. The 
announed that a to- 
tal of $68,000 had 
been paid in at the 
box office during the 
week by persons 
anxious to see 
Georgie Price. 

During the lunch- 
eon everybody in 
the place stopped by 
the table to con- 
gratulate Georgie. 
But it didn't seem to 
make any impression 
on him. 

So I remarked: 

"How can you 
keep from getting swell-headed after 
the marvelous things all these people 
are saying about you?" 

radio, not to me. The thing that 
gives me a kick out of it all is this : 
It confirms the rumors that I have 
achieved success in radio. And for 



.E LAUGHED, and so 
did his radio representative, attorney, 
and adviser-general. 

"It doesn't mean anything," said 
Georgie. "Once upon a time it would 
have meant a lot. But now they 
shouldn't be congratulating me. I 
haven't clone a thing. The radio has 
been responsible for it all. That box 
office record should be credited to 

At first all that Georgie Price wanted was 
a chance at the air. No sooner did he 
get it than he wanted to get at the gold 
in the mint by running for the Sec'y of 
the Treas. 

that I am glad, and feel very, very 
well repaid for the year I devoted try- 
ing to get into radio. What a year!" 
I wondered if I had been hearing 
straight. That Georgie Price, one of 
the biggest names in vaudeville, a 
standard, sure-fire headliner for years, 
had had to devote a whole year to 
getting into radio. I had presumed 
that the only reason Georgie Price 
had been so slow in getting into radio 

was the fact that he, like a lot of 
other stage stars, had purposely kept 
clear of the ether. But he soon con- 
vinced me that I had heard rightly. 
"It was a picture 
no artist could 
paint," Georgie went 
on. "Imagine if you 
can a man ducking 
out through back 
doors at his home 
and his office to 
avoid theatrical man- 
agers pleading for 
his services, only to 
go sit on someone's 
door step and beg 
that person to let 
him in. That was 
me trying to get into 


go so far as to say 
that they had never 
heard of me. Oh, no. 
They have some real 
showmen in radio. 
But they knew me 
only from the stage. 
They knew I could 
sing a song, do 
comedy, do imper- 
sonations, or go into 
a dance. They ad- 
mitted — those that 
did talk to me even- 
tually — that I was 
sure fire on the stage. 
But, for radio, that 
was a different story. 
To radio Georgie 
Price was just a pest 
who was liable to be waiting in the 
reception room when they came in in 
the morning, went out or in at lunch 
or when they went home at night. I 
was to them what the theatrical man- 
agers were to me. 

"Well, that went on for a year. Oh, 
several times I almost clicked during 
that time. I gave several auditions. 
After one, several of my auditors 
came to me and assured me I had 
the contract easy. That was the last 
time I ever heard from that would-be 
sponsor. An artists' representative 
who happened to be in the studio 





that day told me I had nothing to 
worry about. If this program didn't 
come through he could get me 501 
radio contracts, and that was the last 
time I heard from him until after I 
had been on the Chase and Sanborn 
coffee and tea programs, and then it 
was to drop into the studio and tell 
me he knew I would be a success on 
the air. 

"It was all very funny how I finally 
broke in. It was right here in Sardi's. 
My manager and I were having lunch. 
He is Cantor's and Jessel's radio 
manager. You know Cantor, Jessel 
and I grew up in show business to- 
gether. But we'll come to that later. 

"I asked my friend to give me the 
answer to the riddle. How was it, I 
wanted to know, that Cantor and 
Jessel could have such an easy time 
getting radio listeners and I couldn't. 
And at the same time I admitted to 
my friend that I had as much talent 
as either one. 

"Well, you never saw a man blow 
up so quickly." 

He paused to smile at the manager, 
who interjected: 

"All I asked Georgie was how he 
could mention himself in the same 
breath with Cantor and Jessel." 

"That's all," Georgie continued. 
"Then he told me I was handling 
myself all wrong, that I was a pretty 
good business man, but that radio 
didn't think a business man was worth 
what I was asking for my services as 
an entertainer. 

"Well, we ended up bad friends. I 
was insulted, and deeply so. Never 
before had I been cut so badly. We 
parted in a terrible huff. I know I 
never wanted to talk with him again, 
and I guess he was of the same mind. 

"We didn't meet again for several 
days, until after I had had another 
slap from radio. I never felt lower in 
my life. I went for a walk in Central 
Park. I had tried to see several radio 
executives that day without success. 
Almost unconscious of my move- 
ments I had left the park and was 
walking down Broadway until I 
found myself in front of the Para- 
mount Theatre building where my 
friend has his offices. I went in. I 
guess he was as much surprised to 
see me as I was at being there. 

" T admit I was all wrong,' I said 
to him, 'now you go ahead.' 

"And he did. Within two weeks 
after that I was signed for the Chase 

and Sanborn tea program. That is 
Georgie Price was signed up, but it 
was a far different Georgie Price than 
I had ever known." 

The manager laughed. It was not, 
he explained, an unusual case. 
Georgie was not the first star of the 
stage to find he had to change himself 
entirely to make good in radio. He 
didn't seem to think it strange that 
Georgie had met a stone wall, while 
within two weeks after the walk in 
the park, he was set for the air. 

"He should have taken that walk 
a year ago," was the manager's only 

"Speaking of taking a walk," went 
on Georgie, "reminds me of the first 
time Eddie Cantor ever sang a song." 

Of course he was going back quite 

i~*IKE most stage stars Georgie 
<^, Price couldn't understand why 
he was not acclaimed at once when 
he tried to get himself a radio pro- 
gram. It took him a year to find otit 
he had to start out all over again. 
But once he had humbled himself to 
that state of mind it did not take 
him long to climb to the top. 

a few years to the days when Georgie, 
Eddie and Jessel were growing up 
with Gus Edwards shows. Georgie 
was like a son to Edwards in those 
days. Their association even today 
still is more of the father-son rela- 
tionship than that of former employ- 


HIS season the act 
was a kid party in honor of Georgie 
and Lila Lee, Cantor was a waiter in 
blackface, spilling things and doing 
general blackface comedy. 

"But Gus didn't think he was doing 
enough," Georgie said. "One day he 
took Cantor aside and said 'all the 
other kids are doing specialties, so 
you'll have to.' 

" 'What can I do ?' asked the be- 
wildered Cantor. 

" 'Sing a song,' Gus answered. 

" 'What, with my voice. Why they'll 
throw things at me.' 

" Tf you keep moving fast enough 
they'll never hit you," Gus told him. 

"So Eddie went out to do a song. 

I'll never forget it. The title was 
'Start the Victrola' and from the 
first lines of the verse till the last 
line of the chorus Eddie kept running 
back and forth across the stage. Well, 
he had some catch lines in the chorus, 
and one day he heard some one laugh- 
ing when he sang those lines. So he 
stopped his running and listened to 
the laughter, almost forgetting to 
finish the song. That was how Cantor 
developed his style of singing, run- 
ning up and down during the most 
part and standing in one place while 
he renders the catch lines. He's never 
changed from the first time he sang 
until today, except, of course for the 

Georgie has made a study of how 
the various artists he impersonates 
got their styles. He has gone very 
deeply into the subject, especially re- 
garding the 20 stars he can take off 
in a moment's notice. He found, he 
said, that the styles are not original 
with the present day users in nine 
cases out of ten, but merely adapta- 
tions of styles they had liked when 
they were starting out. 

There is probably no one in show 
business who knows the fabulous 
brothers Lee and J. J. Shubert, as 
does Georgie. He told me his favorite 
story about these two, who though 
brothers and partners sometimes go 
months without speaking to each 
other and even try at times to get 
the best of one another. 

The Shuberts, besides owning 
shows and theatres, have several ex- 
cellent apartment house properties in 
Manhattan. It was in one of these 
that Georgie desired to reside several 
years ago. He went to the renting 
agent and was shown just the apart- 
ment he wanted. But the rent — $300 
a month — was out of the question. 
He went down to the Shubert offices. 
Here is the way I reconstruct what 

Georgie — Good morning, Mr. Lee. 

Mr. Lee — Hello, Georgie. 

Georgie— Say that renting agent at 
the Jolson apartments certainly has a 
nerve asking $250 for an apartment. 

Mr. Lee — You bet he has, Georgie, 
Tell him I said to give it to you for 

Georgie — Thank you, Mr. Lee. 

Mr. Lee — Not at all, Georgie. 

(Curtain is lowered for 30 seconds 
(Continued on page 48) 



SOoooo ! You thought all that talk about Bobby Benson, being the 
youngest member and the hero of the H-bar-O Rangers was the 
bunk ! You thought it was just story-talk that you hear over the CBS 
broadcasting system from Buffalo every Monday, Wednesday and Fri- 
day right after you get home from school. Well, looka this! What? 

Mrs. Johnny Marvin 

(Road about Johnny on the opposite page) 

That's Bobby Benson himself a-settin' 
on the fence, and that beside him is 
his trusty steed, Silver Spot ! So you 
wouldn't believe it, huh? 

Well sir, you know how the story 
goes about him bein' the heir to that 
H-bar-O ranch, and how the villains 
are a-tryin' to beat him out of it. And 
boy oh boy, does he have adventures ! 
Look at him ! Why that little bunch 
of chaps and sombrero is only ten 
years old. But don't he look like a 
regular Tom Mix in the bud ! Course 
you shouldn't know this but up where 
he goes to school in Buffalo the teach- 
ers and all call him Richard. But 
some of the boys call him Dick and 
that's really just about as good a 
name if not even better'n Bobby. His 
whole name is Richard Wanamaker. 
Course you can't tell how that name 
Wanamaker stacks up out there where 
the Indianas 'n' cowboys are. Which 
would you rather be a Benson or a 
Wanamaker? But what's that got to 
do with this radio program? You 
wanta listen to it. Comes on at 5 
o'clock. Hook 'em cow ! Hey, Hat, 
don't you get fresh when a breeze 
blows up an' drag the little Boss off 
that corral palin' ! 




ee the 



By Earle Ferris 

RADIO has a singing son of the 
plains, a barber who bought a 
. ukulele and started out to see 
the world. His career might 
match that of the leading character 
in Edna Ferber's "Cimmaronn" or 
the leading character in the motion 
picture epic "The Covered Wagon." 
He is Johnny Marvin whose vocal 
tricks and agile guitar and ukulele 
strumming carried him many a long 
mile and now have made him one of 
America's best loved singers. 

Neither his mother nor his father 
know exactly where Johnny Marvin 
was born because he was brought 
into the world in a covered wagon on 
a pine tree trail somewhere along the 
border of Oklahoma and Arkansas. 
His mother to this day says that he 
was born in one state and his father, 
in the other, so that when he gets a 
passport to go abroad, as he did once 
to sing before the Prince of Wales in 
London, he merely fills on his pass- 
port, Johnny Marvin, United States. 
After his family had settled in But- 
ler, Oklahoma, and he had started out 
life very prosaically as a barber in a 
small Oklahoma town, he began to 
play the guitar and for many nights ■ 
his father and he rode twenty-five 
miles and back to play for square 
dances, earning the magnificent sum 
of two dollars and a half between 
them for playing five and six hours 
at a clip. One day he heard that a 
Hawaiian who was playing in a 
Hawaiian musical act had died at 
Clinton, Iowa. He hurried to that 
city and took his place, playing the 
guitar and the mandolin in Culligan 
and Hawkwell's Royal Hawaiians, in 
which they were all Hawaiians except 
Marvin. He gave that up later and 
returned home only to feel the lure 
of the wanderlust again, and working 
at his trade as a barber he made his 
way to St. Louis. While he was in 

St. Louis he was offered a job taking 
care of a trainload of mules that were 
headed for South Carolina and he ac- 
companied the mules from St. Louis 
as far as Washington, D. C, watering 
and feeding them. With his old guitar 
tucked under his arm he played it in 
Washintgon, to make his way to New 
York. He had four dollars and bought 
a round trip excursion ticket for three 
dollars and a half, selling it for two 
dollars and a half when he got to 
New York. 

In two days his money ran out and 
although he had a room at Four- 
teenth Avenue and East Third Street, 
he sang on the street corners with his 
guitar to get enough money to eat 
while he answered ads for barbers. 
Each time he applied for a position 
they looked at his youthful face and 
decided he was too young. But finally 
a hairdresser on Eighty-sixth street in 
New York offered him a job sham- 
pooing ladies' hair. In a year's time 
he saved five hundred dollars on a 
salary of ten dollars a week and his 
tips. He sewed all but twenty dollars 
of the money into his vest and ex- 
pressed his clothes ahead to St. Louis. 
With four sandwiches and two bottles 
of pop and wearing overalls over his 
new blue serge suit, he worked his 
way on trains to St. Louis, getting a 
job there as a barber until he saved 
up enough money to pay his way back 
to his old home in Butler, Oklahoma. 
There with the three hundred and 
fifty dollars he had left he bought the 
town barber shop. 


|UT the wanderlust still 
called — another Hawaiian troupe 
needed a Hawaiian, and since he 
played a guitar, he became one and 
traveled with the troupe for a whole 
year getting twenty-five dollars a 
week and expenses. He went back to 

Johnny Marvin 

Butler, Oklahoma, again and joined 
the navy in 1918, spending thirteen 
months at San Diego where he 
doubled as a member of the band and 
as the company barber, at old Balboa 
Park for the duration of the war. 
After the war he went to San Fran- 
cisco and got a job as a barber next 
door to Tait's Cabaret, a place largely 
famous to musical circles as having 
been the spot from which Paul 
Whiteman was fired. 

It was in San Francisco that he met 
Charlie Sergent who had also been 
one of the many four Hawaiians with 
whom Marvin had played. And to- 
gether they organized a vaudeville 
act, known as the Sergent Brothers, 
which they played in until 1921. He 
played vaudeville steadily until 1924 
when he met the famous vaudeville 
act of the Four Camerons and was 
booked on the same bill with them 
over a long while. On Christmas day 
in 1924, playing on a bill at Erie, 
Pennsylvania, he met a prima donna 
in an act owned by Frank Richard- 
son, the old motion picture star. She 
was Edna May. Two months later 
she became Mrs. Johnny Marvin. 

Later the Marvins left the Four 
Camerons and Johnny Marvin took 
his jazz band through the middle 
west, starting a tour in Omaha, and 
in two months he was flat broke. He 
scraped enough money to send his 
wife on to New York, and instead of 
paying the band, he gave them his old 
(Continued on page 46) 


By Peter 

Van Steeden 

IN PREPARING a program which 
shall prove pleasing to the greatest 
percentage of his listeners-in, the 
radio dance orchestra leader must keep 
foremost in his mind the fact that he is 
playing not for a group of musicians, 
but for a number of people whose occu- 
pations may run the gamut from butch- 
er to candlestick maker. 

In order to give them the sort of 
music they really want, your leader must 
therefore know people, not merely as 
indefinite "members of an unseen audi- 
ence," but as living, breathing human 
beings. No matter how wide his radio 
experience, it is insufficient unless the 
orchestra conductor has made a large 
number of personal 
appearances, during 
which he has watch- 
ed various types of 
people respond to 
varied selections at 
different hours of 
the day and night. 

"But," you ask, "won't his fan mail 
give him a definite indication of what 
the public wants ?" 

The answer is : It affords only a 
slight indication. It isn't nearly as defi- 
nite a sign-post on the road to public 
preference as you would naturally ex- 
pect. Here's why. 

There are, generally speaking, two 
types of fan letters. One is written by 
people who are really interested in the 
program, and who try to help the broad- 
casters by making pertinent suggestions 
as to numbers they wish to have in- 
cluded in future presentations. Some- 
times the writers of these serious let- 
ters tell us which selections they liked, 
or did not like. Their letters are al- 
ways very welcome. 

The other type of fan letter comes 
from the "souvenir hunter." This per- 
son writes a letter very similar to the 
one I have just described, and usually 
requests an autograph of the con- 

Now, if the serious-minded individual 
particularly likes the broadcaster's pro- 
gram, he too may request a photograph. 
So there is really no way in which the 
leader is enabled to tell whether the 
writer of a "fan letter" is expressing 
an honest preference, or is just prefac- 
ing a request for a picture with a few 
polite phrases. 

Because fan mail is not a reliable 
barometer of public preference, a back- 

Peter Van Steeden 


Orchestra Leader 
Says "Know People " 


HERE'S many a young orches- 
tra leader with big ambitions 
working hard and hoping eventtially 
to make the big chains and national 
recognition. Here's a message from 
a young man (Van Steeden is only 
28) who has already achieved un- 
usual success. He's on the WEAF 
network Tuesdays and Thursdays at 
7:30 p. m. He spends 24 hours mak- 
ing arrangements for each 1 5 minute 
program. He keeps prepared four 
weeks ahead of his schedule. Then 
there are two dress rehearsals to 
match up all ends and make sure 
that time and action are perfectly 
synchronized. He is an authority in 
his field. 

ground of stage or dance work (prefer- 
ably both) is required in order that the 
radio dance orchestra leader may please 
the majority of his audience, during the 
greatest part of his program. 

By way of illustration, let me quote 
a bit from my own observations. When 

I played in Whyte's Restaurant, I kept 
carefully collated statistics on the ways 
in which patrons at various hours re- 
acted to my music. I found, for ex- 
ample, that people prefer slow, dreamy 
waltzes or languishing ballads in fox- 
trot tempo around dinner time. As the 
evening progresses, they like to have 
their music grow faster and "hotter," 
until in the late evening hours we are 
interspersing a far greater percentage 
of torrid tunes in our programs than we 
do at the start of the evening. 

The way to do it is to give them 
plenty of "blues" and what might be 
called "jungle jazz." I don't know 
whether it's the tricky nutter of the 
brasses, the over-accentuated rhythm of 
the drums, or the use of the special 
mutes that fills the late listeners full 
of pep, but I do know that when they're 
listening after midnight, they want their 
music cannibalistic. 

This is even more true of the radio 
audience than in the case of the other 
types for which I have played. You 
see, the radio listener has all sorts of 
music at his finger-tips. If he wants 
slumber music, it's 
readily available at 
the twist of a dial. 
So it's my job as 
a dance orchestra 
leader to provide the 
sort of dance music 
that will keep the greatest number of 
listeners contentedly tapping their toes 
at any given hour I go on the air. 

Of course, a program, even though 
early; is seldom without one or two fast 
numbers, or if late, without a couple of 
dreamy selections, for the taste of the 
minority must be considered too. But, 
as a general rule, the basis just outlined 
enables the orchestra leader to please 
the largest proportion of his public. 


, T'S all based on the old 
rule for success in any line of endeavor : 
In order to please people, you must 
know them from personal observation. 
And if you are in doubt about knowing 
the audience to which you are playing 
•it is time to check up and find out just 
the kind of a listener you do know and 
understand. When you have arrived at 
that conclusion figure that there are 
many thousands of other listeners of the 
same type. Then play your very best to 
satisfy that kind of a listener. Keep 
him in mind, think of him (or maybe 
it's a her), imagine this known listener 
tuned into that loud speaker. By this 
maxim you will find at least one public 
that is pleased. 

This is the first of a series of articles by 
Peter Van Steeden. In his next, the NBC 
dance orchestra leader will give conductors 
who are just getting their start, a jew tips 
on how to "break into the big time." 

cQovely J^ady 


Catherine Mackenzie 
to Sell Him an Articl 
Her — now She Does 

will know at once that Catherine 
Mackenzie is exceedingly attrac- 
tive. Novelist, newspaper woman, com- 
mentator and conductor of the women's 
air column (Catherine Mackenzie En- 
tertains) over W ABC-Columbia, one of 
the most captivating speaking voices of 
radio belongs to her. She has that rare 
gift — disarming informality, a sense of 
humor that won't subside, lavish charm, 
and a genius for choosing the right 
subjects for her audience. She will in- 
terview anyone from an eminent actress 
to an eminent senator's wife in such a 
way that you feel both Miss Mackenzie 
and her subject are sitting in your par- 
lor and sharing their interesting view- 

But now — meet her more specifically. 
As accurately as words can do it. She 
is slender and gracious, with carefully 
shod feet and expressive hands. Her 
hair is brown. The eyes are grey-blue, 
direct and humorous. The smile is slow 
and broad. 

She was born (she will tell, you 
proudly) on Cape Breton Island, "of 
sturdy Scottish Highland ancestry. She 
arrived on her father's Election Day, 
which was quite a coup d'etat, consider- 
ing. He held political office, and the 
family was a prominent one in Baddeck, 
the Shiretown of the County. 

As a literary lady, Catherine Macken- 
zie published her first opus at the age 
of nine. Once, she was paid three dol- 
lars for a poem, and promptly purchased 
additional copy paper and a large box 
of candy. Vanity, however, was whaled 
out of her by three "interested" broth- 
ers, all older than herself. 

Scholastically, she made her mark at 
Baddeck Academy, later at boarding 
school. She wanted to go to Cornell 
University, where her oldest brother 
was an instructor. That was in 1914. 
She wanted specialization in history and 
English. The world war snapped short 
her schooling. 

Three brothers, stalwart, handsome 
youths, joined the Canadian colors, went 
overseas with the kilted Cape Breton 
Highlanders, C. E. F. All three died 
in heroic action. 

Catherine Mackenzie turned to prof- 
itable pursuits for life work, became 
associate with Alexander Graham Bell's 
experimental laboratory in Canada, dis- 
played unique abilities, won the approval 
of Alexander Graham Bell, became his 

Called on an Editor 
e — and He Married 
Air Column in CBS 

experimental assistant and confidential 
secretary. — All this at the mature age 
of 18! 

For eight years radio's first woman 
"columnist" toiled at Bell's side. Her 
days were packed with research, experi- 
ment, writing. At night she read cur- 
rent events, works on politics, philos- 
ophy, the arts and travel to the bearded 
veteran whose name flies on the white 
and blue flags above every building of 
the five billion dollar American Tele- 
phone and Telegraph Company (Bell 

While with Alexander Graham Bell 
she wrote all his personal and business 
letters. (Although she knows no short- 
hand. ) Knows far more about Bell than 
many of his business associates. Con- 
siders him an outstanding genius, a 
great humanitarian, lovable friend. 


'URING this service, 
Catherine Mackenzie's pen traced au- 
thentic notes on the outstanding career 
of her distinguished employer. After 
his death she wrote the life of Alex- 
ander Graham Bell — a volume replete 
not only with detailed observations, 
facts and chronology, but a penetrating 
and unbiased judgment on the man and 
his work. It won her instant fame. 

"I traveled with Mr. and Mrs. Bell 
wherever they went in those years," she 
related, "and always worked feverishly. 
Mr. Bell was a dynamo for work. Any- 
thing from twin-bearing sheep to sub- 
merged hydrosurfaces. On trains, ships, 
houseboats or in the Dupont Circle 
home of the Bells in Washington — he 
kept eternally busy, and so did I. 

"In Scotland our party went to Inver- 
ness so that I could see the Highlands. 
There I fought, bled and died from one 
end of the country to the other. This 
was the more generous of Mr. Bell, 
since we had a standing feud on the 
subject of the Highlands and the Low- 
lands. (The Bells are a Lowland fam- 
ily.) He insisted that Highlanders 
were barbarians. I maintained the Low- 
landers were little better than the Eng- 
lish ! 

"The peak of my career came when 
(in Scotland) I addressed a native in 
Gaelic and he replied, 'Ah, you're from 
Lewis' (in the Hebrides). I had been 
taken for an American in England, and 
I almost died of joy." 

Catherine Mackenzie's first writing 

Catherine Mackenzie 

"job" in New York was with Bruce 
Barton. Subsequently she received an 
assignment to do publicity for a Cana- 
dian province. Wrote all her own copy, 
did the typewriting, sat up all night cap- 
tioning photos, mailing, stamping them. 

Aside from this she wrote feature ar- 
ticles — she calls them "pieces," for The 
Christian Science Monitor, The New 
York Times, New York Sun, New York 
World and other leading newspapers. 
Has written for National Geographic 
Magazine and other travel periodicals. 

Approaching Edward Hale Bier- 
stadt, her favorite editor, critic and au- 
thor, one day with a travel story, she 
discovered herself loved and in love. 
Bierstadt, member of a fine old New 
York family, was then editor of the 
magazine, Travel. They were married 
shortly thereafter. After six years, she 
still says her husband is "the most 
charming and gifted man I ever met." 


Special Colored 

Radio's Dark Town 


; TA-D E-H O-de-dee-ummm- 
um — waddly-daddly-doo — " 
sing the black chanters of 
the air and all America is 
amused, North, South, East and 
West. It's the 1932 edition of the 
songs the black folk sang when brutal 
white traders snared them like wild 
animals from their ancient homes in 
African forests, brought them to 
America and made them slaves to hew 
wood and till the soil. 

Tunes that the negroes sing of their 
own contrivance today are actually 
traceable back to the folk songs of 
the jungle which have been handed 
down from generation to generation. 
The tune rhythm, even what may have 
been words from old Guinea are 
woven into the weird strains and 
tom-tom rumble so popular in 
Harlem of New York, South State 
street, Chicago, and dark town ren 
dezvous in metropolitan sections all 
over the country. 

Cab Calloway, slim, willowy, clean 
cut features with some of the graces 
of the Caucasian aristocracy that 
blended into the blood of his ancestry 
showing in his eyes and nose and 
brow, is the king of this new fad of 
"scat" singing. In fact he is said to 
have originated the name "scat" to 
designate it. He has the ever-present 
good nature of his race, and he is ca 
pable of drowning himself in the 
ecstacy of the rhythmic tooting and 
drumming of his band. 


Here are the Three Keys to harmony — a piano, a voice and a guitar. Slim and 

his magic guitar is in back; then comes Bob Bon, the sugary tenor and Bob 

who makes those ivory keys hop up and down so melodiously. 

.E was one of the 
first of his race to achieve fame over 
the radio. But the Mills Brothers 
who first were heard from WLW at 
Cincinnati and then over the Colum- 
bia network, last year, really brought 
attention to the peculiar adaptability 
of negro harmonizing to radio broad- 
casting through their amazing vocal 
imitation of a jazz band. They really 
are very young men and although 
they jumped almost over night from 
porters and bootblacks to the two and 
three thousand dollar a week class 
they have kept their heads and their 
money through the sage advice and 
cooperation of good management. 
They were the first colored enter- 
tainers to win real sponsorship on a 
national network. Their tour of the 
theatre circuits has been surprisingly 




successful, because of the air fame 
that preceded them. 

Latest of the species to win fame 
is the trio recently discovered by the 
NBC and called The Three Keys. 
An official of the National Broadcast- 
ing Company was browsing around 
the dials at hpme one night when 
he came suddenly on a small station 
in Pennsylvania which had picked up 
the three colored boys playing in a 
black and tan resort in Chester. 
They had gained considerable local 
reputation so the broadcasters had 

decided to give them a fling on the 
air. The NBC man recognized at 
once that this trio were key singers 
to a new fad and it was not long 
before they were brought to the 
studios at 711 Fifth avenue. Their 
promise was immediately fulfilled. 

The next step was to Broadway 
where they played in the Capitol 
theatre and stopped the show. They 
were a sensation on the stage, and 
doubtless will duplicate the success 
of their colored predecessors. 

CAB CALLOWAY who originated what 
is called "scat" singing so far as it is known 
to radio listeners. He was born in Balti- 
more but rules the night gaiety of Harlem. 

THE MILLS BROTHERS: Left, Herbert (saxophone), Donald (hot licks), Harvey (trumpet), and John (tuba). 






Editor Lee Writes 

JUST as Marcella was pondering 
over the many requests for infor- 
mation on fan clubs, whom do you 
suppose lit on her windowsill, all 
dressed in beautiful autumn feathers? 
— why, Marcella's Little Bird and 
under one of those beautiful wings 
she carried a letter. 

Together we read it through and 
decided it was just what some of our 
friends have been watching for, and 
we had better quote some of it. Miss 
Jacqueline Lee is the author, who 
stated she was "twenty years of age, 
with a high school education, and 
very much interested in writing. At 
present I am running a fan club, and 
putting out a little monthly paper." 
(She enclosed one for our inspection, 
and I am going to quote some inter- 
esting things from that too.) 

The name of the paper is "Buddy 
Rogers News Monthly," and the copy 
we received was Volume 1 — Number 
S, October, 1932. Here is the Editor's 
Column — "As you can see, I am in- 
augurating a new system this month 
— or rather, trying it out. That is 
having the papers facsimile-type- 
written. This should eliminate the 
possibility of their being so late in 
reaching you. The time I spend in 
typing them all has not recently been 
planned right, and you have received 
your copies very late, for which I 
am exceedingly sorry and I express 
my apologies. However, I hope you 
will give me another trial. Under the 
new system I hope the papers will 
be out by the fifth. 

"I must admit that I was disap- 
pointed at the response (or, rather, 
lack of it) to my plea for new mem- 
bers. Not a 'prospect' did I receive 
from one of you. However we will 
forget that, and I'll hope you will 
keep trying. A monthly increase in 
our membership is absolutely essen- 
tial for the success of our organiza- 

"Comments on the paper in its new 
form will be appreciated. If you don't 
like it, don't hesitate to say so. This 
is your club and I want it to be to 
your liking." — Jacqueline Lee. 

Miss Lee has a story in the paper 
on an interview she had with Buddy, 
backstage at the Valencia Theatre, at 
Jamacia, Long Island, which will be 
concluded in the November issue. 
Also, there are two columns of "This 
and That," including such items as 
Frankie Parrish possibly joining the 

Vincent Lopez orchestra while Buddy 
is on the coast ; Buddy's purchase of 
a new Cadillac, and his decision to 
send his DuPont out to his Mother, 
which, sad to relate, was smashed 
beyond repair on its journey there; 
Buddy's pride over a letter received 
from a fan in Oklahoma, which was 
written on linen and enclosed in a 
linen envelope; and other items, 
which Little Bird is trying to tell me 
I cannot mention because there will 
not be room to answer all the in- 
quiries she has been working on. 
There is a "Birthday Column" in the 
paper too, and a list of some of 
Buddy's foreign fans. Jacqueline's 
address is : 53 Park Boulevard, Mal- 
verne, New York, and I am sure she 
will be most happy to hear from you. 
I thought my Little Bird, Toddles, 
hopped off that window sill rather 
quickly — of course, it is rather cold 
there now, but the speed used was 
just to snap this letter from the mail- 
man. Well, here is the letter: 

Everything's All Right 

"Please extend my sincerest apol- 
ogies to dear Toddles, I really had 
no intention of hurting her feelings. 
I like her, but s-sh — I thought she 
didn't like me, the way she stared 
at me that day I rumpled your hair — 
I felt she disapproved of me. (The 
former letter had knocked Toddles for 
not getting out some information fast 
enough.) Also give her my thanks 
for trying so hard to get me what I 
wanted — and still want. 

"Have made up my mind that — 
short of hiring a detective — it is use- 
less to try to find out anything about 
Leo Reisman. However, I know he 
receives and reads his fan mail, so 
he must be real. I've also seen a 
cartoon made of him while 'in action' 
— that is, conducting his orchestra. I 
also know he won't go near a 'mike' 
unless he is paid in advance for his 
performance. Beyond that I can only 
guess — and as one guess is as good 
as another — I'll guess that Leo Reis- 
man is something of a hermit-crab, 
part Jew, part Scotch, with all the 
canny secretiveness of both races — 
who has a secret hideaway to which 
he scurries after each brief visit on 
the 'air waves.' 

"Yes, Marcella, I did see and read 
that story (as you call it) in the April 
issue of Radio Digest. It is that 
particular article and the picture ac- 
companying it that caused me to 

pester you and dear Toddles with all 
my questions. 

"How do I know Mr. Reisman reads 
his fan-mail? I've written to him. 
Asked him for his photograph and 
a brief biography of himself. Do 
you know he won't even send me 
his picture? — the 'old meany!' After 
I had called to my command all my 
resources of wit, flattery, and what- 
not — even tried to bribe him for a 
picture — what do I get — a telegram 
saying: 'You interest me strangely. 
Send me a picture first, then I will 
think everything else over. To a fan 
of mine — from a fan of yours' — signed 
— Leo Reisman ! ! ! 

"What would you have done? Be- 
ing of a very obliging nature — at 
times — and wanting very badly what 
I wanted of Mr. Leo Reisman, I did 
the best I could. Not having any 
photographs of myself (I'm camera- 
shy), or the price of having my pic- 
ture taken — I did the next best thing. 
I propped up a mirror on the table 
in front of me so that I could see 
my face in it, took a pencil, drawing 
paper and a trusty eraser, and pro- 
ceeded to draw my own 'mug.' The 
result was a fair counterfeit of my 
face, if I do say so myself. Sent it 
to the exclusive Mr. Leo Reisman — 
but he evidently didn't like it 'cause 
he let me down — gee ! Isn't the floor 
awfully hard when you hit it un- 

"Could you or Toddles find out 
anything about Miss Lee Wylie 
(? about the spelling) and Madame 
Marcus — the two women on Leo 
Reisman's program ? 

"I wonder could you give me the 
lowdown on Phil Dewey? A short 
biography, making sure of the height, 
weight, age, and the color of those 
eyes. Do his children number two 
or three, and what are their sex, 
names, and ages ? And — where is that 
little brute? He was with the 
Revellers, but he hasn't been with 
them for some time now. Isn't he do- 
ing anything now, or is he really the 
baritone of the Men About Town or 
Round Towners — what do they call 
themselves — anyway, the trio that has 
Frank Luther as one of its parts, 
and did have Woodyard (another ? 
for spelling) as the baritone? Did 
Dewey and Woodyard change places, 
or what? Honest — I'm puzzled ! (It's 
"Men About Town" and Darrell 

"As for your answering my ques- 
tions through the Radio Digest, Mar- 
cella darling, I send you stamped, self- 
addressed envelopes for your answers 
because — I am impatient at best — I 
want my questions answered now not 
next month, and, if you don't answer 
as soon as I think you should, please 
don't blame me if I try to have my 
(Continued on page 46) 

Youngest Radio 

Maestro On 




By Ten Devlin 

CAN you remember back — not so terribly long when 
the world suddenly was electrified by the news that 
a World War was on? That was in the summer of 
1914. Now, along about Christmas when blood was flow- 
ing like water all up and down the lines Mr. and Mrs. Al 
Harrod of Little Rock, Ark., announced the arrival of a 
baby son. 

That baby, born under the regime of President Wilson, 
is none other than the same Buddy Harrod whom you 
now hear announced daily as conducting the Cardinal 
orchestra from Broadway over a CBS-WABC network. 
Well, you veterans, the younger generation certainly is 
growing up ! 

Buddy tries to make himself look much older than he 
really is. In fact he thinks just because he will be 18 
next December 24, he might as well be called 18 now. His 
father, now deceased, bequeathed to his son a natural 
understanding of music. The senior Harrod formerly was 
trombone player with the Chicago Symphony Orchestra, 
Sousa's Band, and Arthur Pryor's Band. 

Buddy actually began to play the violin at the age of 
four. By the time he was in high school in Little Rock 
he not only was director of the high school band but also 
was assistant director of the 153rd Infantry Band. 

Getting on in years and experience he thought before 
it got too late in life he would go to New York for a little 
study and look-see. He proceeded forthwith and promptly 
introduced himself to the celebrated instructor, Karl 
Andrist. That was way, way back in 1930. Would you 
believe it, he is still studying with Andrist! But eventually 
his palm began to itch for the old baton that he used to 
swing with the regiment in Little Rock so he got himself 
an orchestra of a dozen men and now they're keeping 
the crowds happy in one of those swank Oriental restaur- 
ants on Broadway in the theatrical district. 

People began ah-ing and oh-ing about him and his 
Cardinal orchestra, so last September Columbia signed him 
up for a daily broadcast at noon— 12 to 12:30. Then, be- 
sides that, he is on again every Friday night from 1 to 
1:30 and on Saturday night from 1:30 to 2:30— a rather 
late hour for a youngster. But you must realize that 
Buddy Harrod is really quite grown up and sophisticated 
now. He is holding down a man's job. 

Buddy Harrod the 17 year old Broadway maestro. 

But this jazz stuff is only a passing phase for Buddy 
Harrod. He'll tell you that with apologies. He says to 
the interviewer, "Along with my violin study I am taking 
a course of legitimate orchestra conducting:." 


.LTHOUGH young Buddy Harrod may speak 
of his present style of conducting as something not quite 
legitimate he does not feel that radio won't figure in his plans. 
No matter how ultra or classical his future style of conducting 
may become it will be acceptable to radio listeners. 

'We are all looking ahead to the better things in music," 
he said, "and radio is just the thing that creates this interest. 
The flashy, temporary things come and go over night but the 
worth while music endures. It is fundamentally great in its 
appeal. The general mass of the listeners comprehend that. 
They welcome and enjoy music of the better kind today which 
they quickly would have tuned out three or four years ago. 
By the time I am 30 it may be that the whole idea will be so 
radically different we will all look back to the music of today 
as something distinctly of a by-gone age." 



WHEN I wrote to you (Nellie Revell) 
some time ago, saying how much I 
was enjoying your programs on Wednes- 
day nights, I had not yet begun taking 
Radio Digest, but the more I heard about 
it, the more interested I became and so 
finally purchased a copy. Though I was 
not able to read it myself, as I am without 
sight, my sister, who always shares the 
use of her eyes with me, read me the 
articles and told me about the pictures. 
Both of us liked the magazine so much 
that we have been taking it right along 
since February. I would appreciate hav- 
ing it mailed directly to me, and so am 
sending one year's subscription. 

Being very much of a radio fan, I have 
learned to recognize many of the an- 
nouncers by their voices and now, thanks 
to Radio Digest I know from description 
what they look like. That section of 
the magazine devoted to letters from 
listeners is very interesting. 

I am glad that some of the winter 
programs are coming back on the air. I 
like the Chase & Sanborn Hour, the 
Parade of the States, the "Cop and Robber 
Stories" on the Lucky Strike Hour, Sher- 
lock Holmes, the Goodyear program and 
many others. The Revellers are just 
great, and I never miss any of their 

Here is something for that Q. & A. box. 
I would like to know if there is any 
regular program at present on which 
James Melton is soloist (not regularly). 
I think he has the most beautiful voice 
on the radio, and would like to hear him 
more often. Wish we might have a pic- 
ture of him in the Radio Digest. (Oct. 

We have finished with the Summer 
issue, and are eagerly awaiting the next 

With thanks and best wishes for the 
future success of this worth-while mag- 
azine.— Marie Thibeau, Bangor, Maine. 


THIS is my first try at VOL, and I 
hope it is a successful one. I got 
quite a kick out of VOL in the Summer 
edition. It was unusually interesting. 

First of all, I would like to correct an 
impression that a certain Pittsburgh R. D. 
Club seems to have, that all male singers 
are crooners. If anyone on the Pacific 
Coast should hear Donald Novis called a 
crooner, I am sure there would be a battle 
in store for the person who made so erron- 
eous a statement. 

I would like to compliment Miss Wini- 
fred Stabler on her excellent suggestion of 
starting an Orchestra Gallery when the 
Announcers' Gallery is concluded. If it 
is not possible to present pictures of the 
full orchestras, I think it would be a great 
stunt to print photos of the leaders and 
their featured vocalists. 

Please let us have an article on Isham 
Jones and his outstanding orchestra. Ex- 
cluding the Lombardos, Isham Jones is in- 
comparable, and I sometimes wonder if 
even the Lombardos are as consistent for 
good entertainment. 

In closing I would like to give my idea 
of the All Star Orchestra : 

Piano — Eddie Duchin 

Banjo — Harry Reser 

1st Trumpet — Clyde McCoy 

Voice of the 

2nd Trumpet — Lebert Lombardo 

1st Saxophone — Wayne King 

2nd Sax and Clarinet — Ted Lewis 

3rd Saxophone — Carmen Lombardo 

Trombone — Abe Lyman 

Bass Violin and Tuba — Isham Jones 

Violin — Joe Venuti 

Guitar — Eddie Lang 

Drums — Isham Jones 

Vocalists — Bing Crosby, Mildred Bailey, 
Eddie Stone 

Leader — Isham Jones 

Yours for that Orchestra Gallery. — 
Tom Hennion, Ventura, California. 


I FEEL so sorry for the poor Mr. Wil- 
liam E. Bryant who wrote to the gen- 
eral manager of the CBS. Why did not 
the manager change all the programs for 
Willie? Surely the other fifty million 
listeners who like Bing Crosby, Rudy Val- 
lee, Ralph Kirbery, and others, would like 
to please him. What is wrong with some 
people? There are always two types of 
programs, and if a person does not enjoy 
one, he is free to tune in another. I, too, 
like both kinds of music, and enjoy hearing 
Lawrence Tibbett, but I also like Bing 

I would like to see a big write-up for 
Donald Novis and Paul Whiteman. Donald 
Novis, I believe, deserves more credit at 
this time than any other singer. 

How about giving the California readers 
of Radio Digest a little more information 
on their own stations. KHJ has very good 
programs and some of the most popular. 
May we have some information and a pic- 

Billy White whose tenor voice is heard 

with Frank Westphal's Orchestra, CBS, 


ture of Lindsay MacHarrie, KHJ's pro- 
duction manager. It seems that all station 
letters in the Radio Digest start with W — 
let's have a few Ks. 

Just one more thing. Surely a large 
percentage of Radio Digest readers like 
music. Can we not do as Rudy Vallee 
suggests? Let us buy more phonograph 
records, and more sheet music. And as 
for Mr. Bryant, he could buy some Victor 
Red Seal records. I am not "over" 
wealthy, but I do manage to buy three or 
four records a month, and at least two Red 
Seal. After all, the song writers must have 
some encouragement. 

You might publish Radio Digest twice 
a month. It is inexpensive and very in- 
teresting, especially "Tuneful Topics." An 
interested R. D. reader. — Ervin Atkins, 
Fresno, California. 


T HAVE waited as long as I can. Have 
-*- read Radio Digest constantly for a long 
time, and never have I seen a word con- 
cerning Sam Herman, xylophonist. There 
is an artist who gives a program that is 
really different and worth-while, and whose 
appearance we anxiously await. 

Xylophonists are very few and far be- 
tween down here, and a great audience 
awaits a good one. We have heard Sam 
Herman a great deal, and would like to 
know a little more than just his being a 
great xylophonist. I hope you will think 
a picture and write-up will be an asset to 
your magazine. Yours sincerely. — F. M. 
Mason, Houston, Texas. 


AS AN ex-radio-writer, may I congratu- 
■^*- late Radio Digest on its fine features 
and excellent and capable material. It gives 
us each month a bookfull of novelties and 
worth-while reading, combined with plenty 
of pep. 

I want, too, to add my voice to the 
clamor on the VOL pages. First, may I 
nominate the ace headliner of the air for 
the winner of the Male Beauty Contest — 
suggested by your readers — namely, Will 
Osborne. He is the only band leader now 
conducting who is truly "kind to the eyes." 

My only sore spot toward Radio Digest 
is the fact that nothing appears about this 
truly worth-while maestro. He and his ace 
musicians go unnoticed in the Digest, while 
others of lesser merits are applauded — and 
fan letters to the editor prove of no avail 
in securing what many want. I sincerely 
wish some of these ardent fans could han • 
die assignments — interviews with these 
idols, and after a few months they would 
agree with me, that to date Will Osborne 
was the only one found worthy of the 
praise and admiration bestowed upon him. 

My very best wishes to Radio Digest, 
and a long printed life, cheerio. — R. 
Moriarty, Plattsburg, N. Y. 



I HAVE been reading the Radio Digest 
since February, and find it quite inter- 
esting'. I like seeing the pictures of the 
announcers, but find the Voice of the Lis- 
tener pages most interesting. I like to see 
if other folks like the same voices and pro- 
grams that I like. 

I regret to know that the McCravey 
Brothers programs are not at present on 
the air, and miss them very much. I think 
their voices and songs are just lovely. And 
they are so helpful and inspiring that 
everyone who hears them should feel bet- 
ter. Hoping to hear the McCravey Broth- 
ers back on the air soon. — Melissa Ben- 
nister, The Glades, N. B. 


IN the last issue of Radio Digest there 
was submitted to VOL an All Star Or- 
chestra. However, it did not appeal to me, 
so I am sending in my All Star selection : 

Saxophones — Guy Lombardos, intact 

1st Trumpet — Victor Lombardo 

2nd Trumpet — Ernie Birchell of Wayne 

Trombone — Mike Durso of Rudy Vallee 

String Section — P. Whiteman's violins 
and bass 

Pianos — -W. Gross and C. Burwell of R. 

Banjo — Harry Reser 

Drums — Joe Plotke of Maurie Sherman 

Leader — Rudy Vallee 

Co-Director — Wayne King 

Soloists — Ethel Shutta and Fran Fry, 
in addition to Rudy Vallee, Ernie Birchell, 
Carmen Lombardo, and Joe Plotke. 

In my opinion, a sweeter combination 
could not be named. Every member is a 
finished musician and the singers are some- 
thing to rave about. If it were possible 
to bring these artists together, waltzes, 
semi-classics, and light, popular fox trots 
would be the predominating types of music 

Mr. Vallee and Mr. King have similar 
tastes in music, both preferring the slow, 
sweet kind, so this would assure co-opera- 
tion between them. All in all, I would like 
to see anyone pick a more perfect combina- 
tion. — H. A. Nelson, Rockford, 111. 


SINCE writing to you before, I have in- 
creased my log to 580 stations, with 
about 300 verified. On a Majestic, Model 
23 Superhet, I have heard every state in 
the Union, 17 stations in Cuba, 15 in Mex- 
ico, 22 in Canada and 1 in the Bahamas. 
My verifications include 10BQ (7y 2 watts) 
Brantford, Ontario; 10AK (15 watts) 
Stratford, Ontario; 10BP and 10AB 
(both 25 watts) Wingham, Ontario, and 
Moose Jaw, Sask., respectively; KFPM (15 
watft ) Greenville, Texas; WNBW (10 
watts) Carbondale, Pa.; WHBC (10 
watts) Canton, Ohio; VAS, Glace Bay, 

N. S. ; VPN, Nassau, Bahamas ; 51 veri- 
fications from the Pacific Coast, 15 being 
stations of 100 watts or less. 

I would like to see many letters in the 
DX column, and would like to hear from 
Mr. Paul McAfee and Mr. Frank Howell, 
also any others who would care to write. 
Yours DXingly.— J. R. Pruett, Shelby, 
N. C. 


^ Digest. I have been getting it for a 
long time, and would not miss it for the 
world. I do wish, though, it were larger, 
as Tuneful Topics and the VOL are great. 

I would like very much to see pictures, 
and, if possible, articles on George Hall 
and his Hotel Taft Orchestra, his vocalist, 
Glenn Cross ; Isham Jones, Harold Stern, 
Freddy Martin, Noble Sissle. They are 
my favorite orchestras. As for announcers, 
Fred Uttal and Ted Husing. 

One more request — how about Tito 
Guizar — that delightful chap who sings 
Spanish songs over the CBS network? 
Would like, too, to see an article about 
him. (Oct., 1932.) Does Bing Crosby 
broadcast any more? If so, please tell me 
when. (Only occasionally.) My friends and 
I think the CBS has the best programs. 
Not so much classical music. In my opin- 
ion, popular music makes a bigger hit. 
Here's hoping you print this letter, and I 
wish Radio Digest all the luck in the 
world. — Kay W., Marshalltown, Iowa. 


T HAVE been a constant reader of your 
•*■ interesting magazine for many months, 

Ruth Lyon, NBC, soprano, knows how to 

go and stir up something for herself when 



and should count it a distinct loss to miss 
a single copy of it. However, I have not 
found but one reference to my favorite 
radio personality — the inimitable Ben Ber- 
nie, and I am writing for a little informa- 
tion regarding him. . . . We were just a 
little peeved at the clever Dolly Dearborn's 
reference to him in your June edition, un- 
der the heading "Blue Ribbon Mai." She 
not only has a "perverted" sense of humor, 
but she lacks imagination as well. Has it 
never occurred to her that when he repeats 
song titles, he is playing a request number 
for which the title may have especial sig- 
nificance to the person who requested it ? 
He, therefore, emphasizes it by repeating it 
one or more times, with particular em- 
phasis on a certain word, or words. As for 
his laughing at his own jokes, don't we all 
do quite a bit of unnecessary laughing in 
the course of conversation, not because we 
think we have said something funny, but 
just to make the conversation seem lighter 
and more pleasant? I like to hear him 
laugh. I think he has an intimate, infec- 
tious sort of chuckle, which is altogether 
delightful. As for his orchestra, we con- 
sider it one of the best, if not the best, 
on the air, and he has more good soloists 
than any other single orchestra in the 
country. We have only one criticism to 
make, however, and that is he does not 
feature Frank Prince often enough. His 
voice is by far the most appealing and his 
singing apparently effortless and, therefore, 
the most pleasing to his radio audience. 
Pat Kennedy has a fairly good voice, but 
he sings as if he is straining every vocal 
cord to the breaking point, thereby suc- 
ceeding in making the ether waves sound 
like troubled waters with his quavering. 

At any rate, Ben Bernie is our favorite 
radio feature, and we have missed his 
Tuesday evening broadcasts immeasurably. 
He has been an ever welcome guest in our 
southern home for many months. — Telza 
Smith Miller, Suffolk, Va. 


TUST a line to let you know that my 
** enthusiasm for radio has not waned. 
Nor has my radio scrapbook been put on 
the shelf. It is growing by leaps and 
bounds. Just received a letter in German 
from the Rundfunk-Gesellschaft of Berlin, 
Charttenburg, Germany, together with five 
lovely photos — one of a studio in Frank- 
fort, one in Fluxenburg, and two of Ber- 
lin ; the other an airplane view of the city, 
showing the Broadcasting Building. I am 
mighty proud of my collection of photos 
and letters I receive from the artists, and 
stations. Hope to receive many more in 
the future. Sincerely, a Radio Digest 
Reader. — Mrs. Frank M. Tavlor, West- 
field, N. J. 


CINCE the days when it was considered 
^ "the thing" to wear head-phones every 
night, I have been a reader of Radio Di- 
gest, and in all that time I have never made 
a request for anything, but now I am going 
to ask you for a favor. 

There is a young lady on the "Evening 
in Paris" program — Miss Alice Remsen — 
who is, to my mind, about as lovely a con- 
tralto as there is on the air, and I think 
she deserves a write-up in your dandy mag- 
azine. Ray High, Sellersville, Pa. 


Tuneful Topics 


7-SN'T IT ROMANTIC. Messrs. 
Rodgers and Hart, gentlemen of the 
elite school of songwriting, that is 
to say the Park Avenue "class" 
crowd, who are best known for their 
"And Then My Heart Stood Still" from 
"The Connecticut Yankee," and subse- 
quently "Here's How," have been 
shipped to the Coast to write music for 
various great personalities, one of their 
first being that great Frenchman. Ev- 
eryone who has seen his picture, "Love 
Me Tonight," seems to feel that the boys 
have done a great job in giving him the 
type of song he needs to best express his 
very unique personality. 

The song, which is played continuous- 
ly throughout the picture, and is intro- 
duced in a very unusual manner, with 
various persons in the picture each tak- 
ing a phrase or a few measures of the 
song, is ISN'T IT ROMANTIC. 

The first night I sang it on the 
Fleischmann's Yeast Hour I was, un- 
aware of what the second chorus had in 
the way of lyrics, and was into them be- 
fore I realized that they were extremely 
humorous. I could not hear it, but I 
was told that the audience was con- 
vulsed with laughter as I came to the 
lines about scrubbing my back and hav- 
ing a troop of children, but it is a cute 
song, and one hears it everywhere. Mr. 
Chevalier may be very thankful for his 
assistance from Messrs. Rodgers and 

Larry Spier, of Famous Music, Inc., 
publishes the song, and being of the type 
best suited to being played slowly, we do 
it in that manner. 

rHREE'S A CROWD. Warner 
Brothers, in their effort to drama- 
tize successfully in a photoplay, Rian 
James' indictment of orchestra leaders 
who sing softly, supplied Donald Novis, 
(who really does the singing in the pic- 
ture, "The Crooner," while David Man- 
ners raises the megaphone in a way 
which would antagonize most anyone,) 
with three or four songs, none of which 
I thought were really outstanding. Irv- 
ing Caesar sent me one of them months 
ago, and the first time I would have 
sung it was when I was in the throes 
of laryngitis in Baltimore. It was 
"Sweethearts Forever." 

Outstanding from the picture, evi- 
dently, from the requests which phono- 
graph dealers have received, is 
THREE'S A CROWD, which is sup- 
posed to imply the plot of the story. I 
did not care very much for the song as 

it put me very much in mind of "Oh, 
Baby, Where Can You Be," published 
by Irving Berlin, Inc., some years ago, 
and which was one of the first songs 
with which we identified ourselves. 

However, the Columbia Phonograph 
Company felt that in view, of the de- 
mand from dealers, that I record it, 
which we subsequently did. Our ar- 
rangement by my good friend, Elliot 
Jacoby, was one we enjoyed recording, 
and which I think made a danceable 
record. All the tunes in the show are 
published by Witmark, Inc., who are the 
publishers for Warner Bros. We play 
THREE'S A CROWD quite brightly. 

JtyfE MINUS YOU. Paul Francis 
IvA. Webster and John Jacob Loeb, 
with whom I wrote "Two Little Blue 
Little Eyes," and who are two of the 
most energetic, college-type of boys dab- 
bling in music-writing and doing a good 
job of it, surprised all of us with their 
very lovely "Masquerade." And now 
they have gone for mathematical ob- 
servations in music — a song which is 
really a successful attempt at injecting 
something relative to numbers and fig- 
uring into melodies and thoughts. 

Rarely does the use of anything of 
such an abstract nature in a song turn 
out successfully. This is one that did. 
Abel Baer, who wrote part of the song 
with the boys, is evidently helping them 
on the high road to success. 

Leo Feist are the publishers (it is 
also one of our recordings), and we 
play the song about as brightly as we 

■\TIGHTFALL. Peter de Rose, 
J_ V Charles Harold, and Sam Lew- 
is .. . 

The old King of Jazz, Whiteman 
himself, selected this song and is really 
responsible for its introduction to the 
rest of us in the profession. It had 
something to do with "inspiration" un- 
der the Whiteman banner, but has taken 
the name of NIGHTFALL under the 
banner of Shapiro, Bernstein & Co., the 
publishers. It has one of the loveliest 
verses it has been my pleasure to sing 
in a long time — a story which leads to 
a chorus in which the lovely one is 
compared to nightfall, beautiful settings 
of scenes, and all that is lovely. 

While the verse may be played bright- 
ly, the chorus should be slowed down, 
due to a few phrases where someone saw 
fit to inject many words in one measure. 
Yet with all its hasty rendition by many 

of the bands, the tune is a lovely one, 
and is constantly heard. 

ij TOWN. A little late again in dis • 
cussing the outstanding song of the 
moment. I am very happy to see Little 
Jack Little and Ira Schuster, whose 
nom de plume of Jack Siras fools no 
one along Tin Pan Alley, finally get a 
good song. Ira Schuster was formerly 
associated with Witmark, Inc., and 
teamed up for years as a sort of Damon 
and Pythias with Bob Miller of the 
same firm, and was finally let out by 
Warner Bros., subsidiary of Witmark. 
Whether or not he placed the song with 
them before he left I do not know, but 
I do believe that Witmark are very 
happy that they secured the song from 
the man who once worked for them, as 
it has been their chief claim to fame 
during the past several months. 

Joe Young has always been associated 
with so many hit songs that I feel it 
hardly necessary to place another feath- 
er in his cap. He seems to go from 
one hit to another, demonstrating his 
right to an executive capacity in the 
songwriting world and American So- 
ciey of Composers, Authors and Pub- 

I am very happy that Little Jack Little 
has come into his own after the writing 
of many songs, including "Jealous," 
with this, a real hit for these times. It 
is the type of song that the big mass 
public, especially in its ballroom danc- 
ing, really enjoys, the type of song that 
Master Downey does best of all. 

We can take little or no part of the 
bow for its popularity, as we have 
scarcely done it. I am very happy to 
see that a waltz can climb to that out- 
standing prominence; when most bands 
will not play them. 

/O There are men in the "back row" 
of the music world who never bask in 
the glory which they so richly deserve. 
They are the arrangers, the men who 
take the melodies and harmonies and 
elaborate on them so wonderfully as to 
make the tune almost another tune. One 
of these young men is Helmy Kresa, 
who has been associated with Irving 
Berlin, Inc., for many years. "Hiding 
In the Shadows Of the Moon" was one 
of his first and best tunes, and he has 
followed it by another tune. He seems 
to lean toward the hours after dark for 
his inspiration, hence SOMETHING j 
IN THE NIGHT, which might lead | 
you to believe a sort of spooky tune, 
when in reality it is a beautiful, slow- j 
moving burst of love, a song that grows : 
on one as he hears it on nearly every | 
radio program. 

Again Joe Young, and Paul Weirick 
must be included in those who helped 
Helmy complete the song. 


Isham Jones has been turning out 
the rhythmic type of tune as one turns 
out Fords in a Ford factory for the past 
several months. I am happy to see him 
finally lean toward the beautiful, smooth- 
moving type of melody. 

With Charles Newman of Chicago, 
with whom he also wrote "The Wood- 
en Soldier and the China Doll," and sev- 
eral other tunes, he has given Robbins 
one of their best bets, one which they 
have been hammering on for the past 
several weeks— IF YOU WERE 
ONLY MINE. Ever since "I Would- 
n't Change You For the World" Isham 
seems to have started the vogue for 
the rhythmic type of song, which has 
given us so many others of its ilk, songs 
such as "My Extraordinary Gal," "We 
Just Couldn't Say Goodbye," "I Can't 
Believe It's True," and so many others, 
but he shows his versatility by shifting 
to this type of song which, personally, 
I enjoy doing best of all. 

ORS." I am sorry that I cannot 
pay these tunes the musical tribute I 
would so much have liked. After their 
wonderful score of "The Band Wagon," 
I really expected that Arthur Schwartz 
and Howard Dietz would give us some- 
thing unusually good. They attempted 
another "Dancing in the Dark" as they 
wrote ALONE TOGETHER, which is 
unquestionably the best song of all their 
songs from the show, although I would 
like to hear them as they are performed 
in "Flying Colors," where I could see 
and hear the development of each tune. 
Certainly, however, LOUISIANA 
ERS will never reach first base in mass 
popularity SHINE ON YOUR 
SHOES makes, .a fine rhythmic dance 
tune, but it is ALONE TOGETHER 
which will achieve what little promin- 
ence the music from the show eventually 

Bennie Krueger's beautiful saxophone 
rendition of it a few evenings ago on 
the Chase and Sanborn Hour showed 
me more than ever the tonal beauty of 
the composition. The show has a mixed 
chorus of white and colored girls, and 
I am very anxious to see it because with 
such a cast as Clifton Webb, Charles 
Butterworth, Tamara Geva and Patsy 
Kelly it should be another Max Gordon 
success. At least, it has my best wishes. 

The songs are published by Harms, 
Inc., and we play ALONE TOGETH- 
ER slowly and SHINE ON YOUR 
SHOES brightly. 

SONG. With the coming of the foot- 
ball season come America's Tin Pan 
Alley writers to give us the college type 
of tunes. Two of them deserve hasty 
mention in passing. 

One of the country's most popular dance orchestras, Rudy Vallee's Connecticut 
Yankees, becomes an exclusive Columbia Phonograph Company feature by the terms 
of a contract signed by Rudy Vallee, it has been announced by H. E. WARD, Presi- 
dent of Columbia, shown here with MR. VALLEE. Recordings of several selections 
have already been made under the new contract. 

Lewis, who with Al Sherman wrote "99 
Out Of A Hundred," "My Heart Be- 
longs To The Girl Who Belongs To 
Somebody Else," and so many others, 
borders very closely on another song that 
Feist published some time ago in which 
I had a hand, "She Loves Me Just The 
Same," but its melodic construction is 
entirely different, although the girl has 
the various football players at all the 
various colleges. It is nothing really 
outstanding, but it is a cute little song 
for the season. 

Herman Hupfeld, however, really 
steps forward with one of the cutest 
songs for the college season that I have 
seen in a long time. We are playing 
it next Thursday on pseudo-all Amer- 
ican program. It is called ANY- 
he burlesques and kids the idea of col- 
lege and college songs. He has the boy 
running the wrong way with the ball, 

TJUDY VALLEE'S comments 
Jl\. about the current songs in 
Radio Digest are considered impor- 
tant as an indication of trends in 
music popularity. Mr. Vallee makes 
no claim to being infallable but his 
average of selections for winners 
stands high. If you are interested in 
music at all Tuneful Topics, appear- 
ing exclusively in Radio Digest, 
should be read regularly. — Editor. 

everyone getting hoarse at the football 
games and asking each other what they 
have on the hip — really a cute song and 
a cute idea, and one which I know we 
will enjoy doing. 

ANOTHER. Remick, Inc., have a 
song for which I am sure the Lom- 
bardos are deeply grateful — ONE LIT- 
It is their type of song first, last and 
always, and although others of us may 
attempt to do it, the Lombardos will 
really play it as it should be played. I 
had it on tonight's program, only to 
have it crowded out as the program went 
on. Where it would have been followed 
by Mr. Hoover's speech, it remained 
unsung and unplayed. We will, how- 
ever, do justice to it some time in the 
future, as I think it is one of the best 
rhythmic type of songs that Isham Jones 
and Charles Newman have written in a 
long time. 

It has a tricky middle part which gave 
me some worry before I finally mastered 
it, but its rendition last night by the 
vocalist in Johnny Johnstone's orchestra 
in Baltimore as we drove away from the 
city heading toward New York, with 
the radio in our car going full blast, was 
exceedingly fine and "sold me on the 
tune" 100 per cent. 

This concludes our discussion of 
songs for the month. As the boys 
buckle down for the winter season we 
will probably get something really out- 
standing. I regret that we did not have 
anything in that class this month. So 
Ions: ! 


Broadcasting from 

The Editor's Chair 

a career. Miss Gloria Braggiotti, 
a Boston blueblood, has sailed for 
Rome and other European cap- 
itals to bring new candidates to 
the debutante program. 


OW and then in the editorial 

ROXY has a vision. When Roxy has visions the 
bankers, the contractors, and the stone masons get 
' into a huddle. Roxy's visions have a miraculous 
way of turning into tangible realities. And now Roxy is 
brooding over the debut of Radio City, which he states 
will take to the air about December 1st. At least that 
part of it will become reality over which he has already 
visioned and which he will dominate, the Roxy Theatre, 
RKO International Music Hall, and the Roxy broadcast- 
ing studios. 

Roxy's latest vision is the new style of radio entertain- 
ment which he hopes to create for a world of listeners — 
and when he says "world" he means world, as this Earth, 
this planet with its own private music of the spheres. To 
a representative of Radio Digest Roxy (less intimately 
known as S. F. Rothafel) stated that he hoped to bring 
to radio entertainment a definite style which it has never 
known to date. He was not specific as to details, per- 
haps he has not clarified his own thought entirely on 
that subject. However, he stressed the fact that science 
has opened up new possibilities for refinement. New 
transmitting and other devices have been perfected. Out 
of past experiences new and more effective methods may 
be employed. In the course of the interview he stated: 

"These new ribbon microphones give us so much greater 
latitude in perfecting the thing to be presented. The 
artist does not have to worry about the mechanical de- 
tails of just where he is to stand, and just how far he 
must have his mouth, or his instrument, from the sensitive 
diaphragm of the mike. 

"These new microphones are veritable mirrors for sound. 
They can be placed anywhere within reasonable distance 
and they will reflect just exactly the sound that is created, 
the same as a plate glass mirror reflects an image. That 
is one of the new gadgets that will be very helpful for 
us to design and style our radio programs. Of course 
we will have the greatest of artists, great voices, great 
instrumentalists performing for a world of listeners. These 
international concerts will be held every Sunday at 12 
noon, New York time, with Leopold Stokowski conduct- 
ing. Facilities will be provided so that they will be heard 
in both hemispheres." 

Thus we have a glimmer of the new cycle that is to 
carry radio entertainment out of the somewhat bewildered 
condition of its present phase, and signs of what is to 
come are already apparent. There is a praiseworthy trend 
toward dramatization, also a slight abatement of the pro- 
longed and exaggerated plug, and there seems to be a 
ready desire on the part of all concerned to go along to- 
ward the new style which is about to spring into flower 
from the fertile brain of Mr. Rothafel. 

JACK DENNY who has been something of a rebel 
against the accepted trends on the part of broadcasting 
orchestras returned a few days ago to his post at the 
Waldorf-Astoria in New York, where he will resume his 
debutante programs. Mr. Denny has New York's Four 
Hundred with him, because it affords many a charming 
bud of the social set to try her artistic leanings and un- 
doubted talents before a great cosmopolitan audience 
without brushing elbows and skirts with persons not con- 
sidered desirable by anxious dowagers. If the young thing 
demonstrates unusual genius before the radio audience 
there will be time enough to consider the possibilities of 

great newspapers we find pungent 
letters from readers who slam at radio with the most 
amusing though idiotic tirades. Some interested person 
sends us a clipping of such a letter published in a Chicago 
newspaper which reads in part as follows : 

"It is said that some of the announcers gag at the 
flapdoodle they are compelled to chant a l t the behest of 
the radio advertiser. A large section of the public shares 
this nausea. One of the potentates of broadcasting tells 
us that the sale of a radio set is the sale of a seat in the 
theater of the air. Picture that gentleman's reactions if 
he bought a ticket for a stage performance and found it 
heralded, interrupted and concluded with advertising 
patter ! If actors took such liberties as do the broad- 
casters the audience would wreck the box office. Yet 
this is precisely the radio owner's grievance under the 
grotesque conditions that now obtain. He feels that he 
was gypped when in buying his radio he bought his seat 
in the 'theater of the air'." 

Such argument is almost too ridiculous to notice. The 
writer assumes that once he has purchased a radio re- 
ceiver the world owes him endless amusement. By the 
same token if he should buy a piano the world should 
send him its greatest musicians to sit down and play for 
him without further compensation. Otherwise he has 
been "gypped" by the piano salesman. How unhappy such 
a disjointed mind must be in a universe where so many 
millions of his fellow beings find so much to enjoy from 
their "theatre of the air" ! To think of fighting the insti- 
tution of broadcasting by such methods is like trying to 
sink a battleship with feather darts. But for all of that, 
there is no doubting that the vociferous critics of adver- 
tising on the air have done much to force the pace for pro- 
gram excellence and for true refinement in what may be 
termed "the technique of advertising on the air." 

ARMSTRONG PERRY is blustering and making faces at 
. the American Plan of Broadcasting again. At this 
writing he is in Spain sending his barbed cablegrams right 
and left from the international conference on radio at Madrid. 
Mr. Perry likes European travel and he picks out the most 
interesting spots from which to inform the set sitters back 
home how much better European radio is than American. 
For example he says in one message : "European govern- 
ments are gradually taking over the operation of their radio 
broadcasting systems after unsatisfactory trials with private 
systems . . . The primary purpose of broadcasting in all these 
countries is to raise the educational and cultural level of the 
people. A comparison of the prosperous condition of broad- 
casting in Europe with the American slump is a convincing 
case against the American system." 

These expensive junkets about the globe are on behalf of 
the National Committee on Education. If Mr. Perry can 
work it right by getting his messages printed in mediums 
hostile to radio there is a hope so much dissatisfaction can be 
stirred up, and so much pressure brought to bear the present 
American plan will be disrupted and broadcasting will go back 
to its chaotic condition of a few years ago. Then the govern- 
ment will take control, the educators will be able to force 
through their bill to grab 15 per cent of all American broad- 
casting channels, and a bureau will be established in Wash- 
ington with a lot of soft jobs for politically minded peda- 
gogues. Peter P. Eckersley, former chief engineer for the 
British Broadcasting Co., who has declared recently "I do 
not hesitate to say that the American programs are the most 
amusing, most varied, most interesting, the most diverting and 
the most educational of all." RAY BILL. 


Jackson Photo, NBC 

The Country Doctor 

(Phillips Lord, NBC) 

PHILLIPS LORD is a real "Country 
Doctor" whose soothing voice and kindly 
philosophy bring peace to millions of listen- 
ers. Here he is compounding new "medi- 
cine" at his country home on Long Island. 



LOVELY LOIS BENNETT known to radio fans all over the country 
-> as the Armstrong Quaker Girl. She appeared on Nellie Revell's 
"Voice of the Radio Digest" program NBC-WEAF and Nellie felt poetic 
about her, called her "like a Dresden China Doll," or "bric-a-brac." 



"I Would Describe Her as a 

^Dresden T)oll" 

Says Nellie Revell 

EDITOR'S NOTE.— Picture this 
t-s scene: A small studio on the four- 
teenth floor of the National Broadcast- 
ing Company, 711 Fifth avenue, New 
York. Nellie, plump and motherly, 
sitting at a reading desk near the win- 
dow of the control room. A microphone 
is on the desk. Before her is George 
Hicks, a bright yotmg man, well 
groomed, especially fond of Miss Revell 
as his mentor and friendly advisor. He 
announces the program. In another chair 
sits Lois Bennett, comely and attractive 
just as she is described later by Nellie to 
her atcdience. Others are in the room. 
And now you are listening to The Voice 
of Radio Digest: 


'LL TELL you, George, I've 
got inside information. The 
next President will be a man 
with two 'o's' in his name." 

"Oh, Oh!" George exclaims. 

"And his name also has a 'v' and 
an 'e' in it. Yes, and an V." 

"Hoover!" guesses George. 

"Roosevelt!" laughs Daly. 

Thus Nellie adheres to the best 
traditions of the Oracles. Then she 
explains that she has ideas on how 
to conduct a campaign. 

"I would take a very beautiful 
singer with me," she says. "One that 
would be such an eyeful she would 
hypnotize the customers. I'd have 
such a singer as Lois Bennett. You 
remember her, George, on the Arm- 
strong Quaker program ?" 

"Indeed I do!" George snaps right 
-back with a sideway smile toward 
Lois who is blushing a little and look- 
ing in her lap. Nellie crooks a finger 
for Lois, who glances up just in time 
to note it, and introduces her to the 
listeners. Lois sings "The Moon and 
I" from the "Mikado." Then you 
who were listening heard Miss Revell 
describe the charming young woman : 

"There were so many inquiries 
about Miss Bennett while she was 
away on her vacation I have seized 
this opportunity to have her on my 

"Lois Bennett has been on radio 

The Voice of Radio Digest' 

nearly four years. * * She was born in 
Houston, Texas, but raised in Okla- 
homa City, and went to High School 
there. * * Her parents still reside in 
Kansas City, where her father is a 
contractor. * * She came to New York 
to study music under Percy Rector 
Stevens. * * Made her first profes- 
sional debut with Carrie Jacobs Bond 
in a vaudeville vehicle. * * Then she 
joined with the Winthrop Ames opera 
company singing Gilbert & Sullivan 
roles. * * She received an offer to go 
on radio and has been on it ever 

"And now I expect that you are all 
wondering just what the lady with 
such a charming voice looks like. * * 
Well, if I were less of a reporter and 
more of a poet, I would describe her 
as a Dresden China doll. * * Or a 
dainty piece of bric-a-brac. * * She 
has the prettiest red hair . . . not fiery 
red . . . oh, I should say sort of 
bronze-like. * * And she has brown 
eyes. * * And the pinkest complexion. 
* * And she's only five feet two in 
height and weighs about . . . how 
much do you weigh, Lois?" 

"Oh, I guess about 120, Nellie," 
Lois replied. Miss Revell cast a roving 
eye over the singer and continued : 


• OIS is wearing black 
and white tonight. * * But with her 
coloring she is lovely in brown. * * 
You know, the red hair, brown-eyed 
girl who wears brown so beautifully. 
* * Well, Lois is one of them. * * Has 
a little bit of a foot . . . encased in a 
dainty little slipper and a chic hat 
with the very latest silk which is 
tipped down in front and tipped up in 
the back . . . and she really does look 
like, as I said before, a piece of bric- 
a-brac. * * How did you come to go 
on the stage, Lois?" 

The singer seemed a bit flustered 
recalling her first experiences and 
said : 

"And mother had promised the 
committee of church women that I 
would sing a song for them ... so I 

was all dressed up in sashes and curls, 
and rehearsed for weeks in front of 
a mirror. * * And the eventful night 
came. * * Mother stood in the wings 
with me. When my turn came . . . 
she just pushed me out on the stage 
and told me to do my song and dance 

"And were you scared?" asked 

"Was I scared ! * * Oh, I was ter- 
rified. * * And then suddenly every- 
thing went into oblivion and I found 
myself singing and dancing perfectly 
oblivious of the audience and I got 
so interested that I forgot to stop. 
* * They had to come out and get 

"Not with a hook, I hope," Nellie 

"No, it wasn't with a hook. * * But 
I can still hear that applause." 

"Well, you've had plenty of ap- 
plause. * * I've heard you sing at the 
Gilbert & Sullivan opera . . . and you 
got plenty of applause." 

"None that ever sounded as good 
as that did." 

"Well, did you continue on the 
staare then?" 


WE always called 
that mother's debut on the stage. * * 
Mine came later after I had studied 
for some time . . . and was invited by 
Carrie Jacobs Bond to sing her song 
on a concert and vaudeville tour." 

"What kind of songs do you like 
best, Lois?" Lois thought a moment. 

"Well, of course," she replied, I 
prefer the classical and semi-classical 
. . . like the Gilbert & Sullivan roles 
. . . but I also like ballads because I 
know my public likes ballads . . . and 
naturally we can sing better if we 
know we are pleasing our public. * * 
But I really like 'Look for the Silver 
Lining.' " 

"Will you sing it for us ?" 

"With pleasure." And Lois sang 
"Look for the Silver Lining." Mis- 
Bennett sat down and Nellie said : 

"Thank you, Lois. * * Well, I don't 


blame you for liking that lovely song. 

Thus Miss Revell takes the modest little 
singer by the hand and leads her into your 
home where in all likelihood she had hith-> 
erto been known simply as a name and a 


. HE next iveek all sentimen- 
tality was cast aside and Nellie presented 
Ray Perkins whose nimble wit zvas a good 
match for her oivn. This she staged as a 
man's program and chose a live subject 
for her theme — an election campaign. She's 
the candidate and explains things to the 
Neiv York Gazette on the telephone as the 
scene opens: 

"Oh, hello . . . good morning . . . 
sure I expect to be elected. Why not? 
I've got a good campaign manager . . . 
Why, his name is Perkins ... Of course 
he's got a first name . . . It's Perkins 
. . . Well, he says Perkins isn't his last 
name . . . He says he was a Perkins six 
weeks before they named him Ray . . . 
So Perkins was his first name . . . Yes, 
he's the man on radio . . that one-man 
show . . Raymond Lamont Perkins . . . 
Born in Boston in 1896 . . later came 
here and was graduated from Columbia 
. . was always a musician. Yes, that's 
the same one . . the one who was on the 
Three Bakers . . Fleischmann's Yeast 
. . and the Pineapple program. Yes, he's 
the one they used to call the Old Top- 
per. Yes, that's why I selected him for 
campaign manager ... I think he'll be 
a great asset . . . He's already got a 
high hat . . and a gardenia . . and a 
cane. Looks like a fashion plate and 
can make fine campaign speeches . . . 
Certainly you can have pictures of him 
. . either with or without the hat . . . 
How tall is he ? Oh, he's five feet five 
. . and he weighs 150 . . and he's got the 
bluest eyes and very blonde hair . . . 
He's married and lives in Scarsdale and 
has a boy and a girl. Oh, you're wel- 
come . . good-by." 


to be the campaign manager," observed 
Mr. Hicks. 

"He sure is," answered Nellie, look- 
ing down at the announcer. "Any man 
who has been in radio since 1925 and 
always on a sponsored program must 
be great." 

"Ray was once in the advertising 
business, wasn't he?" 

"Yes . . and later he was the head of 
the Music Department of a film com- 
pany. He has been playing the piano 
since he was six years old. You know 
Ray writes most every song he sings 
on the air." 

"The whole Perkins family is clever," 
mused Hicks. 

"Yes . . one sister, formerly on the 
stage, has married and retired . . but 
his other sister, Grace, keeps on writ- 

ing best sellers . . . You know, she 
wrote 'Ex-Mistress', 'Good Night, 
Nurse', 'No More Orchids', and several 
more of the lurid literature type just 
what you'd send to a maiden aunt . . . 
if you wanted to kill her." 

The door opens softly and red-eared 
young man enters. Hicks says : 
"Here's Mr. Perkins now." 
Perkins continues his chant about be- 
ing kind to your foes when Nellie stops 

A7"ELL7£ REVELL, as "The Voice 
V_ of Radio Digest," has won a 
distinctive place for herself on the 
NBC programs. For more than two 
years she has been heard every 
Wednesday at 11 o'clock p. m., EST, 
over a WEAF network. Her three 
tceeks vacation this past summer 
caused thousands of fans to write 
inquiring what had become of her. 
There were even a few indignant 
telegrams demanding an explanation 
for her absence. 

Next month you will read an 
article in Radio Digest by Miss Revell 
about her two very dear friends, May 
Singhi Breen and Peter DeRose. 

"Don't you dare say Barbasol on this 
program !" she commands. 

"Why Barbasol is my sponsor," Ray 
explains. But Nellie insists. 

"I don't care. Radio Digest is my 
sponsor — it's America's greatest radio 
authority . . full of pictures, stories and 
news of radio stars — but I'm not going 
to mention it on this program. This is 
a political campaign." 

"Oh yes . . you're running for Con- 
gresswoman At Large or something." 
smiles the sorrel-top. 

"Yes, and you're going to be my cam- 
paign manager." 

"Well, what's the first thing to do?" 

"The first thing we have to do is to 
raise funds." 

"That's easy. I'll get you a tin cup 
and some lead pencils. And as a last re- 
sort . . you could sell apples." 

"Not me. Even Eve . . a much bet- 
ter-looking and younger woman than I 
am and with no competition at all 
couldn't sell them . . she had to give 
them away. Your job is to raise the 
funds . .I'm only the candidate. I spend 

"Won't we have funds? Now the 
next thing you have to do is to make 
some good speeches." 

"I couldn't make a political speech. 
I wouldn't know what to say." 

"Well, sister, you don't have to say 
anything . . they're campaign speeches." 

"No, you'll have to do most of the 

speaking. You have a flair for hooey." 

"You've got a marked talent along 
the line of hooey yourself, Nell. Espe- 
cially Ballyhooey." 

"No, you'll have to be the ballyhooli- 
gan in this campaign. You do the wor- 
rying. I'm just the candidate." 

"All right. I'll call myself the Happy 

"And wear a brown derby !" 

"I don't like derbies. Suppose I wear 
a beret ?" 

"You'd look cute in a beret. You're 
not the type." 

"Yeah, all my friends would give me 
the razzberet." 

"We have to have a campaign slo- 

"I've got one, 'If you don't vote for 
Revell, you ain't done right by our 
Nell.' " 

"We have to hand out campaign ci- 

"Sure we will. What this country 
needs is a good campaign cigar." 

"What this country needs, Ray, is a 
good campaign. And somebody's got to 
kiss the babies." 

"What for ? Babies haven't any vote." 

"Oh, you gotta kiss babies, young 
man, every candidate does." 

"All right, Nellie, you kiss all the 
young babies . . and I'll kiss all the girl 
babies' over 16." 

What is this . . a 

kissing campaign ?" 

"Here's another thing, Nellie, be sure 
in your speeches to promise to do some- 
thing for the farmer." 

"Yes, and I think we ought to do 
something for the farmer's daughter, 
too . . it's about time she got a break." 

"And be sure to denounce any pork 
barrel bills." 

"Sure, anyhow, some of my listeners 
don't eat pork." 

"Well, make it kosher pork. You're 
going to be everybody's candidate. This 
campaign is going to be different and 
satisfy everyone. In other words, when- 
ever an issue comes up you're going to 
take a stand on both sides of the ques- 

"I might even hold debates with my- 

"And talk on both sides." 

"Like a phonograph record, Ray — 
Listen, am I a Republican or a Demo- 

"Neither — I mean both. You're a Re- 

"Can't I be a Democrican?" 

"All right, Nell. We'll start a new 
party. And we'll call it either the Re- 
publocrat or the Democrican party. I 
haven't decided which." 

"Well, meanwhile we'll just refer to 
it as that certain party." 

"There's nothing certain about it 
yet, sir." 

"Sounds to me like a wild party. I 


don't want to get mixed up in any wild 

"Don't worry, Nell, I'll see that you 
get home all right." 

"Why not make this a singing cam- 
paign . . and you sing . . 'Seeing Nel- 
lie home' . . or something like that." 

"Or sending Nellie Home, you mean." 

Whereupon Mr. Perkins gave his in- 
imitable interpretation of the Nellie 
Revell theme song. He was quite 
pleased with his efforts and said : 

"Now, Nellie, that ought to be a sure 

"Sure," replied Nellie who was less 
optimistic, "for my opponent. Whose 
campaign manager are you ?" 

"Say, your election's in the bag." 

"Yes, that's what I'm afraid of . . and 
maybe they won't untie the bag." 

"Now you have to have a campaign 
committee. Let's put on the forgotten 
man first." 

"All right, Ray, I was hoping you 
would be him." 

"Oh, I won't let you forget me, Nel- 
lie. I'll tie a string 'round your finger." 

"No sir, this campaign is going to 
have no strings attached." 

"Do you think we could dig up a for- 
gotten woman?" 

"Well, I'm the kind of a woman that 
men forget." 

"You may be gone, but you're not 
forgotten, Nell." 


• ET'S get on with this 
campaign committee, Mr. Manager. 
Who else have you forgotten?" 

"We got to have George Hicks and 
Art Daly on the list." 


"Hey, fellows, come on . . wake up, 
old tops, you have a guest on your pro- 

"MY program, if you please," cor- 
rected Miss Revell with emphasis. 

"You're on Nellie's camoaign com- 
mitee, boys." 

"I don't want to be in politics," 
whined Daly. "It would simply kill my 
mother if she found it out." 

"We'll let you do all the clean work. 
I'll do the dirty work," Ray argued. 

"Is there any clean work in politics ?" 
asked Nellie. 

I'll go in under an assumed name," 
suggested Hicks. 

"Who else have you got on this com- 
mittee ?" asked Nellie. 

"How about Mickey Mouse?" Ray 

"Oh no . . I'm afraid the opposition 
would bribe him with a piece of cheese," 
objected Nellie. "Anyway, I prefer 
Wallace Beery." 

"If you pick Wallace Beery . . then 
I've got to have Constance Bennett," 
argued Perkins. To which Nellie re- 
plied : 

"Tell her to bring Dick Bennett, her 
father, along. Who else now?" 

HERE you see Nellie Revell as she appeared at the microphone while describ- 
ing her guest artist, Lois Bennett, as "A Dresden China Doll." 

"Ed Wynn . . the Fire Chief . . how 
about him ?" 

"Sure, and his fire horse, too," agreed 

"This is the only campaign committee 
that has a horse on it. We'll have to 
give a big horse-warming." 

"That's great. If I lose, I won't have 
to walk. I'll ride the horse back." 

"And say, Nellie, you've got to spruce 
up a bit if you expect to get the male 

"Listen here, young man, are you in- 
sinuating that I'm not a perfect 36?" 

"Well, Nellie, you will admit that you 
are what they would call a stylish stout. 
And I really think if you dyed your 
hair blonde you'd get more votes." 

"No, I'll just stay off the gold stand- 

"You ought to use a lipstick, too, Nel- 

"All right, what do they cost ?" 

"I don't know. I was never a lip- 

"Well, the first bill I'll introduce will 
be to cut the tax on cosmetics," Nellie 
proposed. "What this country needs is a 
good nickel lipstick." 

"What this country needs, Nellie, is 
a good nickel," corrected Ray. 

"Well, all I've got so far is a head- 
ache," observed Nellie. 

"That comes of your trying to think." 

"You'd better sing a song, Ray." 

Once more the dapper Mr. Perkins 
lifted his best yodeling croon. A frown 
gathered on his brow as he concluded, 
"Say, it looks to me as though I'm do- 
ing all the work. Aren't you going to 
do anything?" 

"Sure, I'm going to recite a poem." 
said Nellie. And she concluded her pro- 
gram with one of those epics, which she 
finds to fit any occasion. 



Rita Gould 

liner and musical-comedy star gener- 
ally receives her share of those four lucky 
stars when mentioned in the critic's col 
umns; and judging from this picture why 
shouldn't she? She warbles the popular 
songs and has a way of putting that charm 
right through the air and out of the loud 
speaker into the living room. Rita premiers 
soon on a new commercial hour. Her air 
record includes such programs as "Vitality 
Shoes" and "Evening in Paris" over the 
CBS network; also "Shell Oil Hour" on 
KPO in San Francisco. She has had a 
considerable run of programs through the 
WEAF net, but is best known to the lis- 
teners for her 153 broadcasts on the RKO 
Theatre of the Air while on tour. 

WOC Looks Back 

Pioneer Station Developed Into 
Great Institution in Ten Years 



WOC began as a plaything . . . 
the dream of a visionary, and 
has grown to be one of the 
greatest institutions in radio broad- 
casting in the United States today. 
About ten years ago, this "vision- 
ary," Dr. B. J. Palmer, of Daven- 
port, Iowa, became interested in radio 
through one of the men in his office. 
He sent emissaries to visit the broad- 
casting studios of the then existing sta- 
tion 9-BY at Rock Island, Illinois, and 
these emissaries reported back to Dr. 
Palmer that they thought radio might 
be used to broadcast entertainment as 
well as lectures to those people who 
had graduated from his school of chiro- 
practic. The doctor immediately became 
interested, but his thought went farther 
than mere interest, and, as he, himself • 
expressed it, on the occasion of the tenth 
"birthday party" of the station at the 
time of the dedication of the new stu- 
dios of the sister station WHO, Des 
Moines, last spring : "We have always 
concerned ourselves in utilizing the air 
as a community organization for com- 
munity good, believing that was the only 
legitimate excuse for being on the air." 

OO, AT the outset, Dr. 
Palmer decided that, should he purchase 
the station then for sale, he would give 
the listeners only the best in every line 
of talent that could be procured. Thus 
WOC began with a good start, when it 
was purchased from Robert Karlowa 
of Rock Island and moved to Davenport. 

With the purchase of WOC began a 
long list of "firsts" of which the Central 
Broadcasting Company is justly proud. 
Under the old call letters of 9-BY, this 
station can be considered among the 
oldest stations in the United States. 
Robert Karlowa broadcast by voice just 
twelve hours after the ban was lifted 
by the government following the war, 
and continued to broadcast weather re- 
ports and phonograph music on a reg- 
ular schedule. The call letters WOC 
were granted February 18, 1922, just a 
few days after the call letters KDKA 
were granted to the Pittsburgh station. 
Nevertheless, because of the 9-BY 
broadcasts, WOC maintains that she is 
the oldest station in the United States. 

The sale of WOC from one man to 
another and its removal from one town 
to another, and, more than that, from 

one state to an- 
other could not be 
consummated un- 
til some one in au- 
thority had sanc- 
tioned the act. 
Since this sale of 
a radio station 
was the first of 
such sales to be 
made, and the 
move was the first 
to be accomplish- 
ed, the action was 
the first to test 
the power of the 
United States 
government in 
regulating radio 
broadcasting. The 
government, here- 
tofore, hadgranted 
licenses, but no 
test had been 
made, until this 

time, of whether or not the Depart- 
ment of Commerce, in whose hands 
authority had rested until recently, could 
or could not regulate the sale of a radio 
station. The sale of WOC brought one 
of the first tests of the government's 
power in controling radio. 


N MARCH, 1922, the sale 
to Dr. Palmer had been consummated 
and sanctioned, and the removal of 
equipment was begun. At that time, 
WOC had a very "spacious" broadcast- 
ing studio, as studios in those days went, 
for the entire equipment, that is, trans- 
mitter room, control room and broad- 
casting studio were all placed in a room 
\Ay 2 feet long, Sy 2 wide and 6 feet high 
in the Palmer School Building. It was 
not long before Dr. Palmer realized that 
this was all wrong, and that, if the best 
programs, which he had promised him- 
self and his public, were to be sent out 
from WOC, they must have ample space 
and refined surroundings. Consequently, 
he began a series of developments which 
ultimately resulted in the excellent 
broadcasting equipment the Central 
Broadcasting Company now has. 

With this progress, new ideas sprang 
up, and the station improved almost 
faster than the visions of its founder 
could be made and realized. One of the 
first of these new ideas, which oriein- 

Eleanor Talcott, beautiful star of the microphone, whose contralto 
voice is heard every Wednesday afternoon, in programs of the 
Toe Ticklers, broadcast over the WBZ-WBZA networks, Boston. 

ated in the fall of 1923, was a series of 
broadcasts given by Gilson Willets who 
called himself "Radio Rex." He gath- 
ered material for a Home Economics 
program, and told women listeners just 
what they could do to lighten the tasks 
of home making. Early in 1924, Faye 
Hough-McCarthy was called to take 
over this department, for it was felt 
that, with her experience both as a 
home maker and as a home economist 
of note in the middle west, she would 
have more of an appeal to housewives 
than a man. So this was the beginning 
of the first radio home economics period, 
and Faye McCarthy, better known as 
Aunt Jane ... the FIRST and ORIG- 
INAL Aunt Jane, has the longest record 
of any household expert on the air, for 
she is still at WOC. 

Then there was "Pat" Flanagan, bet- 
ter known, now-a-days, as the sports 
broadcaster for the Cubs, who was a 
pioneer in radio work, and the first to 
put on the "daily dozen" regularly at 
any station, when he began the series 
over WOC. There was the special news 
editor who culled and edited the news 
flashes for those who were too busy to 
read the newspapers. WOC was the 
first station west of the Mississippi 
River to broadcast a chain program 
when it hooked up with WEAF in 1925 
before National Broadcasting Company 
came into existence. 


Last spring the Federal Radio Com- 
mission granted a permit for a 50,000 
watt station, the transmitter for which 
is being erected at the time of writing 
just east of the city of Des Moines. 
Xew studios have been constructed for 
station WHO at Des Moines and mod- 
ern broadcasting rooms will be erected 
in Davenport for WOC in the spring. 
V V V 

WG Y— Schenectady 

Gray McClintock 

IT IS not an easy task to write a story 
of Gray McClintock. It should be, 
for he is manifestly interesting. Of the 
millions who have heard him through 
the facilities of WGY, Schenectady and 
the NBC, all have been struck by his 
sincerity, and the authority in which he 
handles his subjects. The one great 
reason is that his stories are not imag- 
inative tales ; they are cross-sections of 
a life as he, and other pioneers of the 
Great Northwest, lived it. For thirty 
years, this quiet man was a part of the 
emergence of a lone desolate land into 
a populated, completed civilization. 

Gray McClintock went into the West 
thirty years ago, to seek health, and an- 
other chance to carve out for himself a 
future. His assets were a willingness 
to take the chances, and the desire to 
further his one great ambition, to be a 
naturalist, a student of nature, and to 
touch the edge of the Beyond. When 
he searched for health, for a restoration 
of a pair of lungs, that study and ath- 
letics had impaired, he went out into the 
North into the cold and the life that 
calls for courage and endurance, and 
got back his health. When he desired 
a first-hand knowledge of the wild life, 
he went where he could meet the killers, 
the wild animals of the sub-arctics, the 
foot-hills and the prairie. When he 
wanted to perfect himself in the skill of 
tracking, he worked with the master 
trackers of the police. When he became 
interested in the Indians, he went into 
their camps and counsels, sat at their 
fires and studied, and he lived and en- 
joyed them. When he was asked to 
study the wolves and send out definite 
information regarding their habitats, a 
study of their habits and a way for their 
extermination, he spent two full years 
in this study alone. For seventeen years 
he lived a lonely isolated life, so much 
alone that the habits of those awful days 
have entirely unfitted him for the pres- 
ent. He does not know people, and 
fears them. He has always been fight- 
ing conditions, and too much of the 
spirit of rebellion remains for him to 
be more than he is, — a quiet man whom 
few know, or can know. 

it was the cruel, hard, adventurous 
life that McClintock lived, and because 
he has lived it with a courage and stam- 
ina known only to himself, those who 
listen to his stories over the air and are 
controlled by his sincerity are being edu- 

Naturalist, Professional Man, Orator, Broadcaster— Gray McClintock — who 

pioneered to that lonely, isolated, great Northwest in search of health thirty 

years ago. But his was a wonderful mission! 

cated, interested and blessed. His is a 
wonderful mission. He is a most won- 
derful character, but one cannot write 
wise-cracks about him. One cannot look 
into his eyes and discover even the 
semblance of a smile. The sorrows and 
tragedies of the lonely land, and a lone- 
ly life are back behind the keen glint 
that tell of a fast working brain, and 
shrewd deductive thinking. 

Miss Sarada Gray, the North-country 
girl, works with McClintock and enter- 
tains from the same platform. 

V V V 

KMBC— Kansas City, 

DICK SMITH, Kansas City an- 
nouncer of the Columbia staff, 
calls himself a real radio fan. It's his 
work, his hobby, and his ambition. Dick 
was born and educated in Iowa and re- 
ceived his A. B. degree in Iowa State 

University. In his college days, Dick 
made use of his fine tenor voice travel- 
ing chautauqua and appearing in ama- 
teur theatricals. In summers, he devel- 
oped his singing voice, yodelling to the 
coyotes while driving a water tank on 
a Montana ranch. 

For three years, Dick Smith was head 
of the Department of Commerce in 
Montana State College and Montana 
Wesleyan. Leaving this, he practiced 
accounting and banking in California. 
His singing ability led him to some ra- 
dio work in Los Angeles where he also 
learned the tricks of announcing. 

Three years ago, Dick Smith joined 
KMBC as program director. On the 
air he has served as triple threat man, 
as announcer, dramatist and singer. In 
sports Dick turns to the more robust 
activities such as hunting and fishing 
and, so far, he has managed to retain 
the athletic figure of his football days 
in the University. 


KGO — San Francisco 

THE day when radio heroines 
need not be young and lovely 
so long as their voices convey that 
impression, is definitely passing, 
judging by the manner in which 
NBC producers now are picking 
casts whose individual members can 
actually look the parts they play be- 
fore the microphone. 

Here's the Barbour household of 
"One Man's Family," domestic serial, 
by Carlton E. Morse, which is broad- 
cast Wednesday nights over the 
NBC-KGO network, 8:00 to 8:30 
o'clock P. S. T., and an outstanding 
example of the new trend in ether 
casts. Minetta Allen and J. Anthony 
Smythe, who play the mother and 
father in the domestic serial were 
chosen for their ability to look like 
the parents of this group — though 
it took some skillful make-up to add 
years to their countenances. 

But their "children" — Bernice Ber- 
win, Kathleen Wilson, Barton Yar- 
borough, Michael Rafeetto and Billy 
Page, need no make-up to look like 
the characters they portray. Billy, 
who plays the irrepressible Jack 
Barbour, actually is fourteen years 
old, and a high school student, like 
Jack Raffetto, who plays Paul, the 
war-crippled aviator, and eldest son 
of the family, was too young to enter 
the regular army during the world 
war, but was a member of the Stu- 
dents Army Training Corps, at U. 
C, and is a keen student of social 
conditions and an active sympathizer 
with Paul's generation. He and Ber- 
nice, who plays Hazel, the elder 
daughter of "One Man's .Family" at- 
tended the University of California 
together. Barton Yarborough, who 
plays Clifford, went on the stage at 
seventeen, and played a season in 
London with Sir Gerald DuMaurier. 
Kathleen Wilson, who plays Claudia, 

Clifford's twin, is just about the 
same age as her ether character, but 
has done a number of interesting 
things in her brief career, since she 
spent two years in Europe with her 
Uncle, J. Stitt Wilson, lecturer and 
writer, who took her on a campaign 
tour with J. Ramsey MacDonald, 
and then to Florence, where she 
studied painting and lived in an an- 
cient palazzo for a season. 


her microphone debut as Mrs. Barbour, 
but found it not at all novel to be moth- 
ering Raffetto and the others, since 
she used to play mother parts with 
the University of California Players 
when he and Miss Berwin and Yar- 
borough were student-actors there. 
Then she joined the Fulton Theater's 
stock company — and her very first 
part was opposite J. Anthony Smythe, 
the pate? familias of the Barbours. 
Smythe belongs to an old California 
family, and made his stage debut 
here. He has played in stock in most 
of the large cities in the country, and 
has been heard in numerous NBC 
dramatic offerings, including the re- 
cent mystery serial "Dead Men 
Prowl" in which he had a major 

A A A 

JVN AC— Boston, Mass. 

THE original intention of Irwin 
Clive Cowper, popular Yankee 
Network announcer, was to study for 
the ministry when he entered the 
Boston University of Religious Edu- 
cation, but after a year of study he 
transferred to the University's Col- 
lege of Liberal Arts from which he 
graduated four years later. 

Born in Montreal, Quebec, he re- 
ceived his early education in the 
schools of Montreal, London, On- 
tario, and the Brookline, Mass., high 
school. He has a natural bent to- 
wards dramatics as was evidenced at 
the age of three when he made his 
first public appearance in a recital. 
During his four years at college he 
was active in the school dramatics. 

While working his way through 
college, Cowper served as elevator 
boy, night clerk and switchboard op- 
erator, waiter, coached plays, and did 
some newspaper reporting. 

Cowper joined the announcing 
staff of the Yankee Network in De- 
cember, 1929, since that time he has 
appeared in many popular programs. 

Left — Minetta Allen, well-known on the le- 
gitimate stage, turned to radio for the first 
time when she undertook the role of Mrs. 
Barbour, the mother in "One Man's Family." 

"Bill" Pope, WLBW's manager in the 
character of "The Old Sage" whose philo- 
sophical talks have been well received by 
the radio audience. Poetry and philosophy 
have been this old chap's long suit and 
hundreds of poems have been read by him. 

He is heard every Tuesday announc- 
ing the regular Boston Petite Sym- 
phony Orchestra program over the 
Columbia Broadcasting System from 
station WNAC. He is popularly 
known as Earle Nelson's "pet an- 
nouncer," having announced his pro- 
grams for several years. 


KDKA— Pittsburgh 

THE Bronc Busters, Chief Sand- 
ers a member of the Cherokee 
Indian tribe ; Hy Allen, the Eiffel 
Tower of the trio, and Charlie 
Springer, the handy man, all cow- 
punchers from Oklahoma, broadcast 
daily except Sunday, from Radio Sta- 
tion KDKA at 6:45 o'clock in the 
morning and quite frequently at 
12:00 o'clock midnight. 

The boys from the Oklahoma 
ranges are good musicians; Hy Allen, 
the left handed banjo player is a 
sensation on the strings — and how 
he makes the banjo talk! Chief 
Sanders plays the fiddle, and Charlie 
Springer is a wizard on the guitar 
and added to this, their close har- 
mony on old time tunes heard on 
the ranch has made a big hit with 
radio listeners. 

Their stage performance is a clever 
act such as may be seen when the 
cowboys gather at the postoffice after 
a round-up. Chief Sanders displays 
his ability in the art of fancy rope 
spinning and his accuracy in marks- 
manship by shooting the fire off a 
cigarette held between the lips of 
Charlie Springer, as well as other 
delicate shots with the rifle. 


The Tyler Hill Billies, and "Pat" Binford, who make things merry for the Corn Cob Pipe Club of Virginia, in their weekly broadcasts 
over the WRVA. Richmond, network. The Pipe Club, which broadcasts the Edgeworth Tobacco programs to WEAF, New York, and 
a coast to coast network, each Wednesday at 10 :00 p. m., has a large following, and has become popular for its barnyard music. The 

male quartet is so well liked that its fan mail floods the studios. 

WINS— New York 

JOHN McCORMICK was born in 
Peoria, 111. His mother was an 
amateur singer and actress, — in fact 
she played the church organ at 
Emden, 111. McCormick's father was 
a travelling salesman, — which re- 
sulted in John being educated in the 
grammar schools of Watseka, 111. and 
in the Austin High School in Chi- 
cago. When the war overtook John 
he found himself in the quartermas- 

John McCormick, WINS program director, 

and featured baritone in The Songs of 

Ireland, Sunday Evenings. 

ters depot .... after the war he dis- 
covered he had a decent baritone 
singing voice while plowing corn in 
a field near Emden, 111. . . . first public 
appearance was with a mixed quartet 
in a small Chicago church .... went 
to Wabash College in Crawfordsville, 

Ind and became a Sigma Chi. 

.... next became chief statistician for 
the general superintendent of trans- 
portation of the Illinois Central R. R. 
. . . polished his voice by coaching 
with Arthur Van Eweyk and and Heb- 
ert Witherspoon .... left the Windy 
City for a turn at the Gay White 
Way .... got only as far as Hoboken 
where he appeared in productions 
with Christopher Morley during the 
season of 1929 .... broke into radio 
the same year .... joined the WGBS 
staff in 1930 .... left in three months 
to do "Rambles in Erin" on WOR 
.... rejoined the WGBS staff in 1931 
and finally became director of pro- 
grams .... remained until WGBS 
became WINS and is still in the same 
capacity with WINS .... is thinking 
of getting married but the details are 
still a mystery .... which is another 
way of saying he is still single. 
A A A 

W ICC — Bridgeport 

THOMAS WALL, concert and 
radio artist, continues his Sun- 
day evening song recitals at 7:15 
P. M., EST. Before becoming a reg- 
ular sustaining artist on WICC, Mr. 
Wall was a well-known favorite of 

the musical comedy and operetta 
stage. It is his custom to present on 
his programs every week one song 
that he formerly introduced over the 
footlights, a favorite ballad and a 
sacred request song. 

Familiar to WICC audiences are 
the Melody Boy and Girl, Frank 
Reynolds and Felice Raymond, who 
now offer a noon time program of 
popular songs and duets. Marcia Lee 
Robinson acts as accompanist and 
piano soloist of this program. Frank 
and Felice have been very popular- 
with local and Metropolitan audi- 
ences for the past three years. 

JVLW — Cincinnati, 0. 

THELMA KESSLER, nationally 
famed radio soprano, is the 
most recent addition to the vocal 
staff of the WLW studios here. 

This artist comes to the Nation's 
Station following a meteoric rise to 
radio stardom over both the NBC 
and the CBS chains. Her selection 
for the important post of staff 
soprano for the powerful 50,000-watt 
Crosley station was made by Manager 
Clark, along with William C. Stoess, 
Musical Director, and Grace Clauve 
Raine, Vocal Director, of WLW, fol- 
lowing a series of auditions held re- 
cently in New York. 

Miss Kessler was chosen from a 
group of more than twenty-five of the 
country's leading radio and stage 
sopranos heard during the auditions. 


KFOX-Long Beach, Cat. 

ALMOST nine years ago, KFOX 
took its first bow to its unseen 
audience with the call letters KFON. 

Hal G. Nichols, president and gen- 
eral manager of Nichols & Warinner, 
Incorporated, and his cousin, the late 
Earl C. Nichols, organized and started 
the station that today is known to thou- 
sands as KFOX, the "Home Station." 
Neither were unknown to the radio 
field, having operated Station KDZQ 
in Denver, Colorado, which was the 
ninth station to be licensed in America 
and among the first in the West. The 
fundamental policy of the station was 
determined prior to its opening. It was 
to be a home station, an intimate and 
informal entertainment force, a straight- 
forward advertising medium. KFOX 
has never wavered from that first es- 
tablishment of policy. 

KFON became identified first as the 
"Piggly Wiggly Station" and in 1928, 
took the name of the Hancock Oil Com- 
pany Station, under a long term con- 


24, 1912. 
Of RADIO DIGEST, published monthly at New 
York, N. Y., for Oct. 1, 1932. State of New- 
York, County of New York, ss. 

Before me, a Notary Public, in and for the 
State and county aforesaid, personally appeared 
Ray Bill, who, having been duly sworn accord- 
ing to law, deposes and says that he is the Edi- 
tor of the RADIO DIGEST, and that the follow- 
ing is, to the best of his knowledge and belief, 
a true statement of the ownership, management 
(and if a daily paper, the circulation), etc., of 
the aforesaid publication for the date shown in 
the above caption, required by the Act of August 
24, 1912, embodied in section 411, Postal Laws 
and Regulations, printed on the reverse of this 
form, to wit : 

1. That the names and addresses of the pub- 
lisher, editor, managing editor, and business man- 
agers are : Publisher, Ray Bill, 420 Lexington 
Ave., New York; Editor, Ray Bill, 420 Lexing- 
ton Ave., New York; Managing Editor, Harold 
P. Brown, 420 Lexington Ave., New York; Busi- 
ness Managers, Charles R. Tighe, 420 Lexington 
Ave., New York. 

2. That the owner is: (If owned by a corpora- 
tion, its name and address must be stated and 
also immediately thereunder the names and ad- 
dresses of stockholders owning or holding one 
per cent or more of total amount of stock. If 
not owned by a corporation, the names and 
addresses of the individual owners must be given. 
If owned by a firm, company, or other unin- 
corporated concern, its name and address, as well 
as those of each individual member, must be 
given.) Radio Digest Publishing Corporation, 
Edward Lyman Bill, Inc., Raymond Bill, Edward 
L. Bill, Caroline L. Bill, Randolph Brown, J. B. 
Spillane, B. Titman and Chas. R. Tighe, all of 
420 Lexington Avenue, New York City. 

3. That the known bondholders, mortgagees, 
and other security holders owning or holding 1 
per cent or more of total amount of bonds, mort- 
gages, or other securities are : (If there are none, 
so state.) None. 

4. That the two paragraphs next above, giving 
the names of the owners, stockholders, and secur- 
ity holders, if any, contain not only the list of 
stockholders and security holders as they appear 
upon the books of the company but also, in cases 
where the stockholder or security holder appears 
upon the books of the company as trustee or in 
any other fiduciary relation, the name of the per- 
son or corporation for whom such trustee is act- 
ing, is given ; also that the said two paragraphs 
contain statements embracing affiant's full knowl- 
edge and belief as to the circumstances and con- 
ditions under which stockholders and security 
holders who do not appear upon the books of the 
company as trustees, hold stock and securities in 
a capacity other than that of a bona fide owner ; 
and this affiant has no reason to believe that any 
other person, association, or corporation has any 
interest direct or indirect in the said stock, bonds, 
or other securities than as so stated by him. 

R. Bill, Editor-Publisher. 
Sworn to and subscribed before me this 30th 
day of September, 1932. Wm. A. Low, Notary 
Public, N\ Y. Co., No. 753, Reg. No. 3L487. 
Certificate filed in Queens Co., No. 1126. My 
commission expires March 30, 1933. {Seal.} 

tract. In 1929, the Federal Radio Com- 
mission, revising station call letters and 
wave lengths, assigned the new call to 
the pioneer Long Beach KFOX. 

Outstanding among the programs 
broadcast during the past year has been, 
the "KFOX School Kids," a program 
written and presented with a child audi- 
ence in mind. 

During 1931 KFOX attained the 
name of the "Play Station of the Air," 
offering listeners perhaps the most fre- 
quent presentation of plays in the coun- 
try. There were at least three plays, 
both dramatic and comedy, offered daily, 
all enacted by professional talent. 

Attesting to the large following of 
KFOX, is the. result of a "children's 
club" in conjunction with the KFOX 
School Kids' Program and embodying 
the sponsor's name. The Markwell 
Taffy Chewers Club, started less than 
ten months ago, offering boys and girls 
special club privileges, aside from re- 
ceiving with a purchase of the sponsor's 
product, a membership card and a pic- 
ture button of their favorite member 
of the program, grew beyond the fond- 
est hopes of the station management. 
Part of 'the working plan of the club 
was to invite as many members of the 
club each night as the studio would ac- 
commodate, to witness a two-hour 
broadcast. In less than three months, 
the membership had grown to more than 
ten thousand, making it necessary for 
the station to stage a radio revue in 
the Long Beach Municipal Auditorium 
to care for those boys and girls whose 
positions on the membership list indi- 
cated that it might be five years before 
they would be called to the studio. 

There was little slack in the popu- 
larity of this club and today the mem- 
bership includes more than twenty-five 
•thousand boys and girls from all over 
Southern California. Another radio 
revue is being planned to care for one 
or two thousand of those whose wait 
for invitations will be a hopeless one. 

V V V 

WBT-Charlotte, N. C. 

WITH hundreds of letters from 
radio listeners in practically 
every Province of Canada, the west 
coast of this country, the Hawaiian 
Islands and the British West Indies, 
expressing surprise and astonishment at 
the reception of programs from Station 
WBT, it is evident that the Carolinas' 
high power transmitter will be a fa- 
vorite even beyond the nation's borders. 

V V V 

KFAB-Omaha, Neb. 

IN THE new KFAB Studios in Oma- 
ha, Nebraska, a beautifully appointed 
audition room has been constructed. 
The only audition room west of Chi- 
cago, it has been decorated with walls 
of matched walnut and with Italian 
Renaissance furniture and tapestries. 



V ou turn the 

■*■ knurled end of 
the barrel to fill or 
empty the new Conk- 
lin Nozac (no sack). 
There is no rubber 
sack in this new pen. 
The ink capacity is 
35% greater than 
sack pens. Here is 
the greatest student's 
pen ever made. 

And there is a trans- 
parent section in the 
barrel through which 
you can see at all 
times how much ink 
is in the pen and be 
reminded to refill it. 
Made in beautiful 
new colors at $5.00 
and more. Pencils to 
match $3.50 and 
more. Another out- 
standing pen is the 
Conklin Endura at 
$5.00 and more — the 
peer of the best of all 
pens employing the 
familiar rubber sack 
ink reservoir. 

Toledo Chicago San Francisco 



ft EG. U.S. PAT. OFF. 



WEXL— Royal Oak, 

ANOTHER Knight of the air . . . 
ii not as famous yet as the other 
two Knights whose name he shares 
. . . but as possible no doubt with 
Michigan listeners who hear him 
from Station WEXL in Royal Oak, 
Michigan . . . where he is chief of the 
announcing staff. . . . C. Kirk Knight 
was recently chosen the station's 
most popular announcer by an audi- 
ence representing metropolitan De- 
troit and its suburbs. . . . They think 
he is one of Michigan's finest an- 
nouncers . . . possessing a pleasing 
radio voice that Mr. and Mrs. "Lis- 
tener In" seem to enjoy. . . Kirk 
Knight started out on a journalistic 
career . . . first at the Michigan State 
Xormal . . Ypsilanti . . and later at 
the University of Michigan and Wis- 
consin . . . somehow journalism didn't 
suit and before long was eclipsed en- 
tirely by radio . . a newer and more 
promising field with greater possibili- 
ties for the young man with ideas 
.... and the ability to see them 
thru . . . shelving journalism did 
not mean that education should not 
go on ... so Kirk continued with a 
modified course and found himself a 
part time announcing job on a small 
local station . . . summer came . . . 
school ended . . . the station moved 

C. Kirk Knight 

to Detroit . . . Knight with it . . . This 
time a step forward was made . . . 
he was the new chief announcer. . . . 
His experience has covered prac- 
tically every type of program from 
sports events to symphony concerts 
. . . Recently he made several trans- 
cription programs and industrial talk- 
ing pictures . . . his ambitions are not 
limited ... he has several . . . not to 
be a chain announcer particularly but 
to know all possible about radio. 




44th-45thST.«*8thAVE. N.YC. 



EZRA MacINTOSH, veteran an- 
nouncer of WJZ has joined the 
announcing staff of WIP-WFAN. 
The biography of Macintosh reveals 
how a college education directed this 
quiet, efficient son of Scotland into 
the ranks of radio. Macintosh, after 
finishing Creighton University Law 
School in Omaha, became chief an- 
nouncer at WOW. He held that post 
for three years and then left his na- 
tive city to teach school at the Mis- 
sionary Training Institute, Nyack- 
On-Hudson, N. Y. Following a short 
term at Nyack he became associated 
with NBC and announced over 
WEAF for several years. During 
this time he took a leave of absence 
for six months and was manager and 
program director of the Toccoa Falls 
Broadcasting Co., Athens, Ga. 

Macintosh was identified with some 
of the largest commercial and special 
events on the air while he was in 
New York. His commercials included 
the Great Atlantic & Pacific Tea 
Company, McKesson & Robbins, 
Cream of Wheat Corporation, Gen- 
eral Foods Corporation and many 
others. Some of the outstanding 
special events that the versatile an- 
nouncer officiated at were — The New 
York Beer Parade, Recommissioning 
of "Old Ironsides," Christening of 
S. S. Akron, Akron, O., Army Air 
Manoeuvers over New York City, 
Arrival of Premier Laval of France, 
Program in honor of King and 
Queen of Siam, New York vs. Geor- 
gia Football Game (last year). 

* A /> 

K NX— Hollywood 

THE authority of Eddie Holden's 
"Japanese" accent, as put forth 
in his skit with Reg Sharland, "Frank 
Watanabe, the Japanese Houseboy, 
and the Honorable Archie," over 
KNX, in Hollywood, was recently 
illustrated by an incident, both comi- 
cal and pathetic. A Japanese visitor 
to Los Angeles heard Eddie's voice 
as Frank Watanabe. He forthwith 
wrote Eddie a reproachful and im- 
ploring letter, asking him why he 
hadn't written to his old mother and 
father in Japan, who were sorrowing 
because they had not heard from 
"Frank Watanabe" for several years ! 

KNX, in Hollywood, resumes on 
November 15 its frost warning broad- 
casts by remote control from the 
United States Weather Bureau at 
Pomona. Heard every night at 8 
o'clock, until February 15, these 
warnings will be broadcast by Floyd 

In giving these frost bulletins over 
the air, KNX is rendering an invalu- 
able service to ranchers and growers. 


Bob White Writes, 
Produces and Acts 

FIRST Dramatics: William Perm 
Charter School, Philadelphia (old- 
est Prep School in the country, founded 
in 1689). Played Cohan's part in 
school drama, "Seven Keys to Bald- 
pate" (1920). After matriculating at 
the University of Pennsylvania, quit to 
join Chautauqua (Tent Show), to play 
lead in "Turn to the Right" (1921-22). 
Returned to Philadelphia and entered 
real estate office ; stuck with it for two 
years, saved a thousand dollars (more 
or less) ; quit to join Hedgerow Theatre 
in Rosevalley, Penn. (Experimental 
theatre playing "highbrow drama" — 
O'Neill, Pirendello, Shaw, Chekov, 
Glaspell, etc.) Three summer seasons 
there, returning to real estate each win- 
ter. Third year assisted in direction. 
Ann Harding principal summer star. 
Played one of the two white men in 
"Abraham's Bosom" (Pulitzer prize 
play), by Paul Green, which was first 
produced at Provincetown Theatre, 
N. Y., by Jasper Deeter, genius director 
at Hedgerow Theatre. 


EFT season at Hedge- 
row for stock company, juvenile job, 
Jackson, Mich. (1925-26). After seven 
months there returned to New York to 
play two Broadway shows — both flops. 
Also did first radio work at WABC, 
IN. Y. Returned for three weeks spe- 
cial summer engagement with Hedge- 
row Players at Broad Street Theatre, 
Philadelphia, starring Ann Harding. 

In the fall, 1927, back to New York 
and joined road company of "Three 
Wise Fools," playing juvenile lead. 
Left N. Y. October 1. Married to 
ingenue Betty Reynolds, October 31 ! 
Had known each other 43 days and 
were, married on the stage, in riding 
clothes, between a rehearsal and evening 
performance. Bob left company same 
day to return to New York to achieve 
'"bigger things." But landed in Chi- 
'cago, joined Evanston Players in 
Evanston, 111., and remained there six 
imonths. When company closed Bob 
;and Betty took joint engagement with 
'Chautauqua company of "Shepherd of 
the Hills." Bob stage managed, drove 
car, played two parts. Betty played boy 

Returned to Chicago for loop en- 
jgagement in "Companionate Marriage." 
(Lasted five weeks. Then, no job ! . . . 
and a son getting ready to be born ! 
'(Fall of 1928.) 

Bob convinced the manager of station 
KYW that he was a continuity writer 
and announcer ! Joined staff. Christ- 
mas week — Bob was doing radio work 
i at station and "doubling" as guest juve- 
nile in revival of "Companionate Mar- 
riage' 1 for opening of Evanston Stock 
jCo. Bob White, III, being born in 

To those who think 

Learning Music is hard- 


PERHAPS you think that taking 
x music lessons is like taking a 
dose of medicine. It isn't any 
longer ! 

As far as you're concerned, the 
old days of long practice hours 
with their hard-work exercises, and 
expensive personal teacher fees are 
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You have no alibis whatsoever 
for not making your start toward 
musical good times now ! 

For, through a method that removes . 
boredom and extravagance from music lessons, 
you can now learn to play your favorite instru- 
ment entirely at home — without a private 
teacher — in half the usual time — at a fraction 
of the usual cost. 

Easy As Can Be 

The lessons come to you by mail from the 
famous U. S. School of Music. They consist of 
complete printed instructions, diagrams, and 
all the music you need. You're never in hot 
water. First you are told how a thing is done. 
Then a picture shows you how, then you do 
it yourself and hear it. No private teacher 
could make it clearer or easier. 

Over 600.000 people learned to play this 
modern way — and found it easy as A-B-C. 
Forget that old-fashioned idea that you need 
special "talent." Just 
read the list of in- 
struments in the 
panel, decide which 
one you want to 
play, and the TJ. S. 
School will do the 
rest._ No matter 
which instrument 
you choose, the cost 
in each case will 
average the same — 
just a few cents 
a day. 

Tenor Banjo 
Hawaiian Guitar 
Piano Aocordion 

Or Any Other 


Send for our 
Free Book and 

If you really 
do want to 
play your fa- 
vorite instru- 
ment, fill out 
and mail the 
coupon asking 
for our Free Booklet and Free Demonstration 
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U. S. School of Music, 

18311 Brunswick Bldg., New York City 

Send me your amazing free book, "How You 
Can Master Music in Your Own Home," with 
inspiring message from Dr. Frank Crane ; also 
Free Demonstration Lesson. This does not put 
me under any obligation. 



Have you 
Instrument Instrument?. 

Grinnell, la., Betty's home town. On 
night of birth, New Year's eve, Bob is 
announced from stage as proud father 
• — assures audience son is not result of 
companionate marriage. Life goes on 
at KYW until spring, 1929. 


'NE day Bob was pro- 
ducing an audition of "Uncle Tom's 
Cabin" for a commercial advertiser, at 
request of station manager. Discovers 
client hadn't showed up, gets annoyed, 
chucks job. Baby Bob is six months 
old ! Bob became "free lance" in writ- 
ing of one and three act plays for pub- 
lishers of such for amateurs. 

Wrote a one-act play, "Little Moth- 
er," which he and Betty played, week- 
ends, around Chicago. In summer of 
1929, Bob joined stock company in Mt. 
Clemens, Mich., playing two new shows 
each week. Betty remained in Chicago. 
Five weeks of this makes wreck of Bob. 
He returns to Chicago to dabble in radio 
as "free lance" actor and writer until 
fall. Tried out for understudy of three 
young English heroes in "Journey's 
End." He got the job ! Actor took ill 
and Bob played "Raleigh," English 
school boy soldier — only American to 
play this part, with sixteen companies 
playing the show all over the world. 
Remained with "Journey's End" twenty 
weeks, then original "Raleigh" recovers. 
Bob tires of being understudy. Quits. 

Returns to Chicago and "family" early 
in January, 1930. 

He then began playing in NBC dra- 
matic productions. Continued to do this 
throughout the year, playing in every 
commercial dramatic broadcast originat- 
ing from NBC Chicago studios. In the 
fall of 1930 he created his first network 
feature, "Junior Detectives," sold 
through NBC to Blue Valley Cream- 
ery. Betty by now had become well- 
known for child characterizations — she 
was featured in "Junior Detectives" as 
"Girl Detective." In November of 1930 
began "Little Buster Circus Parade" 
series, during which time — March 30, 
1931 — second son is born, Bradley Rey- 
nolds White (Skippy). Betty, who has 
been playing- in "Little Buster," is out 
of show for just three weeks ! Life is 
created — and moves on. 

OUMMER of 1931. Fran- 
cis X. Bushman is discovered by Bob 
to possess radio talent. Program of 
"Radio Talkies" is created for Armour 
and Co. — (who sell hams!) Bushman 
is feature of "Armour Hour" through- 
out summer, with Bob playing part of 
Bushman's valet in the sketches, as well 
as writing them. Fall of '31, Bob 
joined staff of station WMAQ as con- 
tinuity writer, producer, announcer, and 
what have you. Played in fifteen dra- 
(Continued on page -15) 






•lor our ~ 

Newark's Supreme 

Hotel Value... 




find that's no idle 
boast. Just "ask 
the guests who 
stop here." 

Not only the new- 
est hotel in New 
York but the most 
centrally located. 

1000 ROOMS 

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a RADIO, a 
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Other Features. 





ToL PEn. 6-8600 




47th St. West of B-way.NYC. 



"So This Is Harris?" 

Helene Handin, the Truthful Trouper, 
KFI, Los Angeles, Gives You the 
"Awful Truth" About Phil Harris 

GREETINGS and salutations, Gal 
■ friend : 
Well, old dear, am I excited, 
or am I excited? I've just met Phil 
Harris, and "I'm his'n", to paraphrase 
a famous saying. Of course I can't 
expect an old "dyed in the rayon" New- 
Yorker like you to enthuse with me, but 
wait until he comes to N. Y. and then 
I'll wager you'll get "all het up" about 
him too. 

No doubt you're saying "you've met 
Phil Harris — so what?" And you're 
wondering who the Hector he is maybe. 
Don't remember my writing you when 
I first arrived here in May about my 
first visit to the famous Cocoanut Grove 
and my going "ga-ga" about the new 
(to me) band leader there, who did 
things to songs that was nothing short 
of marvelous. — Well this "here now" 
Phil Harris is the mean singing papa 
who sent me into that "rave." 


'F COURSE Marcella, 
when I say "I'm his'n" I mean figura- 
tively speaking — you know me — I don't 
go for orchestra leaders, no matter how 
fascinating. Maybe it's because they 
don't go for me — but anyway we'll skip 
that. I'll take a good staid business 
man who has a few hours each evening 
to devote to just me. 

Who cares what I fall for, get back 
to my story, did you say? All right, 
all right — I was just telling you. — Well 
then, when I took it into my common- 
place brunette head to make poor de- 
fenseless Phil the victim of my first 
interview I called his secretary for an 
"appertment" as we say in dear old 
Brooklyn, and the following day hied 
(that's a good word, I must use it more 
often) hied myself to the Hotel Ambas- 
sador and bearded the lion in his den, 
so to speak. Rather after running 
hither and yon, thru subterranean 
caverns and hallways and asking about 
ten people I finally discovered his den ; 
there should be green lines and ar- 
rows there. 


LOWEVER, it was a 
very nice den after I discovered it, 
piano, nice secretary, big windows and 
everything. Mr. Harris was waiting 
for me — well, at least, he was waiting — 
and after the usual "chawmed to 
meetcha" which we exchanged we got 
down to business. You wouldn't know, 
but Phil is noted for his smile, or may- 
be it would be more correct to call it 

"grin" and the way he puts over num- 
bers. Don't misunderstand me, as an 
orchestra conductor he's not to be 
sniffed at, but as a singer of songs is 
where he steps out; ahead of them all, 
and when I say ahead, I don't mean at 
the rear of the procession — and yon 
know how I like Rudy, Crosby and 
others, but Phil is different. 


_E HAS a real "he-man" 
voice, not such a wonderful voice at 
that but how he can characterize songs, 
popular, comedy, and torch : but where 
he shines is during intermissions when 
he stands up on the platform under a 
"Mike" and does the Bert Williams 
type of number. The dancing ceases 
but the dancers stay on the floor arid 
sort of sway back and forth on their 
toes, or someone's else, to the rhythm 
of his music. It is a sight I never saw 
any place else — and I've been around, 
you know that old dear. In fact there 
is no place like the Cocoanut Grove in 
little old New York and there is no one 
like Harris (there either). I suppose 
he'll be grabbed off before we know it 
tho, as he had his first Lucky Strike 
prog, this week and after a few more 
coast to coast hook-ups he'll be known 
in the "yeast" too. 


O GO on with the 
"strange interview." Phil has a pleas- 
ing smile and manner off stage also, 
and we were soon chatting like old 
friends and when I started firing ques- 
tions, he came right back with the right 
answers. He was born in Nashville, 
Tenn. I thot I detected a slight South- 
ern accent, went to school there and 
started his musical career playing the 
drums in school and amateur shows. He 
later drummed his way across this con- 
tinent, thence to Honolulu, then on to 
Australia and back to the little old 
USA ; and that's pretty good drumming 
says I, and remember I don't mean 
travelling salesman ! To be more ex- 
plicit, "our hero," left the old home- 
stead in 1923 to go into vaudeville and 
from then on he cavorted from dance 
band to recording band to presentation 
acts and as I told you to other conti 
nents even. This boy was just a trav 
elling fool, if you ask me, but, strange 
as it may seem to you, he has never been 
to little old N. Y. yet ! Doubtless that's 
your cue to say "He ain't seen nothin' 
yet" maybe so, maybe so, we won't ar 
(Continued on page 46) 


Bob IV kite Writes 

(Continued from page 43) 

matic productions per week and wrote 
five until January, 1932 . . . when ex- 

New year began with new business. 
into being with Bob and Andres Selkirk 
as partners. They sell a swell program 
to Household Finance Corporation — 
which finances new business— (the pro- 
gram does, not the company). Life 
and new business move slowly . . . Oh 
yes, our hero continues to act in "Rin 
Tin Tin" thrillers, which began on 
NBC two years before. By this time 
Bob has played a different character 
every Thursday night for over one hun- 
dred weeks. Spring of '32, RADIO 
PROGRAM SERVICE sells another 
program, "Lane Reporter." On CBS 
for eight weeks. Otherwise, business 
is tough. Eddie Guest joins Household 

Came the summer of '32. RADIO 
PROGRAM SERVICE sells three pro- 
grams in one week ! Two of these to 
Standard Oil Co. of Indiana. . . . 
"Brown Stone Front," the "street 
scene" of radio, and "Si and Mirandy" 
fashioned after the characters in Op- 
per's famous comic strip, ~ "Maude the 

And he plays the part of the' English 
Dr. Petrie in Sax Rohmer's mystery 
series, "Fu Manchu," on a coast to 
coast hookup of the Columbia chain. 

Bob is the only actor-author in Chi- 
cago who produces his own shows ! 


the Ukulele Lady of WPG 
recently celebrated her one 
hundred and fiftieth program over 
that station. . . . Francis Craig and his 
orchestra returned to Radio Station 
WSM, Nashville, early in October, 
opening a nine months' contract, 
coming from the Adolphus Hotel in 
Dallas, Texas. . . . Since the comple- 
tion of the 50,000 watt transmitter 
WSM letters are coming from all over 
the world attesting to the clarity of 
the programs, Australia, New Zea- 
land, China and Japan are included. 
. . . Beasley Smith, band leader in 
charge of the WSM orchestra has 
completed three song hits in three 
weeks ; his latest is "Unfinished." 

MARIO COSTA, Argentine bari- 
tone heard over WMCA, New 
York, Sunday evenings at eight 
o'clock, is known to music lovers in 









XL50 SENT C.O.D FOR &1.10 



Europe and South America. He also 
gained great popularity in the films in 
Argentine. . . . Roxanne, platinum 
blonde and her male orchestra broad- 
cast over WMCA regularly 

Chico 'n' Peppina, formerly heard 
over WCKY in Cincinnati, now go 
over the ether from WMCA Tues- 
days and Fridays at 4:45 P. M. 

FOLLOWING in the wake of the 
radio stars who trekked across 
the East River to appear in "The Big 
Broadcast" at Paramount's Astoria 
studio, five firstline radio announcers 
reported at the studio for their scenes 
in the picture of radioland. The five 
announcers were Norman Broken- 
shire, William Brenton, Don Ball and 
Andre Baruch from Columbia Broad- 
casting Company and James S. Wall- 
ington from the National Broadcast- 
ing Company. . . . Scenes from "The 
Big Broadcast" involving Vincent 
Lopez, Arthur Tracy, the Boswell 
Sisters, Kate Smith, Cab Calloway 
'and the Mills Brothers were filmed 
in New York after Bing Crosby and 
Burns and Allen had appeared in 
Hollywood. Clifford Carson-Jones, 
leading man with the Crosley Players 
of Station WLW, Cincinnati, dodged 
the laundry business of his father to 
go into the show business, winding up 
on the air. 

KELW — Burbank, Cal., has gone 
Spanish in a big way these days 
Senor Pedro Gonzales, exponent of 

Castillian melodies, directs three pro- 
grams over the Burbank station six 
days in the week. One of these comes 
on the air at 12:30 p. m. with a half 
hour of Spanish songs including, of 
course, plenty of instrumentation in 
the form of solo and ensemble work. 
Then, at half past seven in the eve- 
ning, another Spanish half hour 
brings more twinkling tunes of sunny 
climes. The third period is a two 
hour one between 4 and 6 o'clock in 
the morning. Senor Gonzales brings 
a scintillating array of Spanish pul- 
chritude on these three broadcast 
periods. There are dazzling senoritas 
for fandangoes, vocalists a-plenty and 
string instrument players. Mere male 
naturally is not forgotten and they, 
too, help to round out the concert and 
dance aggregation. 

ONE of the clearest voices ever 
heard on the air, according to 
long experienced listeners reporting 
from Australia, is that of James 
Hayward, who at 85 has been Master 
of Ceremonies for several unique pro- 
grams in which only septuagenarians 
participated before the microphone of 
Station 2BL, Sydney. . . . He intro- 
duced a 93 year old tenor, T. W. 
Cummings, who sang "Annie Laurie." 
Another singer was John Fullerton, 
a Scot, who used to warble as he sat 
at the throttle of high speed trains. 
C. F. Howes, 75 has played the 
clarinet, double bass and saxophone 
the world over. 

Subscribe Now for Radio Digest 

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New York, N. Y. 

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(Continued from page 24) 

questions answered by somebody else 
— though all my sources of informa- 
tion seem to have failed me in regard 
to Mr. Reisman. 

"I thank you again for your efforts 
in trying to get the information I 
sought. And give my love to Toddles." 
— Lucille Bolinger, Kankakee, 111. 

Well, Miss Bolinger, to get down to 
business you probably have had the Oc- 
tober R: D. by this time, and if you have 
not, you most surely must get one, 
for there is a very nice picture in it 
of Phil Dewey, together with a 
resume of SOME of his fan mail, but, 
because your letter came in so late, 
the biography will have to wait until 
next month — and don't be too im- 
patient, we'll write you, just to use 
the three-cent stamp you sent us. 


So This Is Harris 

(Continued from page 44) 

gue about that, you and I don't agree 
on that burg. 

To continue this "hotcha" drummer's 
nonstop flight to fame, and I'll bet in 
those lean days, it seemed as tho he 
would never reach his destination, he 
finally landed at Balboa Beach, Cal., 
where they needed someone to stand in 
front of the dance band and gracefully 
wave the baton — the leader being the 
pianist, so Phil was delegated for the 
job, possibly because he knew nothing 
about it, at least from actual experience. 
The proprietor asked him if he couldn't 
Mng and Phil didn't think he could but 
made a stab at Old Man River with the 
result that he and Old Man River have 
been pals ever since, it being one of his 
best numbers. He stayed with the job 
gradually got himself a repertoire and in 
the fall organized his own band in L.A. 
where he played the following six 

From there he went to the St. 
Francis, the famous San Francisco hos- 
telry where he stayed three years — so I 
guess he was good — what? As I re- 
marked before he had just opened at 
the Cocoanut Grove here when I ar- 
rived (from N.Y.) in May and he cer- 
tainly crowds 'em in and those that can't 
go to the "Grove" stay home and listen 
to him over the radio (KFI nightly). 

The amazing thing to yours truly is 
the fact that he only discovered three 
and a half years ago that he could sing. 
Just goes to show that one never knows 
what talents one may develop does one? 
Look at me — who ever tliot I'd be a 
writer — what did you say ? — "There's a 
little doubt on that score yet" — Sure 
hut I'm in print and that's somepin'. 

Phil Harris is quite a likable chap, 

and after all his years of trouping he 
should be "human" and is, and I believe 
he's the type that will stay that way, 
statistics to the contrary notwithstand- 
ing. I asked him, with my usual nerve, 
if he thot he'd ever become "tall mil- 
linery" high hat to you, and he rather 
naively replied, that he didn't think so. 
He's one of the few men radio singers 
that men seem to like as well as women, 
and that is the height of something or 

Phil's main hobby is Polo and he's 
crazy about it, as are most of the men 
out here who can afford it. And here's 
the low-low down on his food complex; 
he hates vegetables of all kinds and 
species and refuses to eat them cooked 
or uncooked — so there ! Page those bal- 
anced diet cranks. I said "You must be 
a meat eater then" and he retorted 
"100% meat eater." He looks the pic- 
ture of health so I guess he'll last a 
while longer despite his diet. He doesn't 
even care much for sweets or pastries. 
— Hot radishes, wouldn't he be easy to 
cook for (him) gal, just toss a steak 
on his plate and all would be forgiven. 

He recently made a batch of electrical, 
transcriptions and is starting a Talkie 
soon, a musical talkie rather, and it is 
to be called "So this is Harris" — and if 
that's not a title, I'm an infuriated earth 
worm ! Phil rather ingeniously told me 
that he had been very nervous and fear- 
ful about his first picture, but that Mark 
Sandrich, the director, after talking it 
over with him, man to man, made him 
feel so easy that now he's all set for the 
shooting — I mean of the picture, Dope ! 
Funny thing — the Lew Brock Comedy 
unit of RKO is making the "pichur" 
and he's that same "fellar" I worked 
for in the first short I ever made in 
N.Y. It was called "Strange Inter- 
view" do you remember? Lew is very 
interested in bringing radio personali- 
ties to Talkies, so here's hoping ! I for 
one will be anxious to see it as I'm 
wondering how Phil will picture. He's 
tall, nice physique, dark curly hair, blue 
eyes and teeth that would grace any 
toothpaste adv. — heaven forbid, so he 
ought to photo' well — but it's such a 
gamble — and how / know ! 

He has never had to diet as yet, he 
says, no doubt he works too hard to 
take on weight. He lives in a cozy 
house in Beverly Hills, but I won't tell 
you the number or you'll be writing him 
fan mail — oh yeah ? And that, Little 
Widget, closes my "peeking thru the 
keyhole" at Phil Harris for this session. 
Write me after you hear him and tell 
me if you don't agree. I'm enclosing 
some pictures of him, but you really 
have to see him in person and at work 
to appreciate him. If I meet and in- 
terview any more western (radio) 
celebs, I'll write you about it. 

So long old thing and happy night- 


Be a Barber 

(Continued from page 19) 

automobile and started for New York 
as a hobo. He joined a carnival, sing- 
ing in one act and operating an old 
concession known as the Country 
Grocery Store, which he finally sold 
for enough money to get to New 
York on. 

He reached New York the first of 
October and there was a great de- 
pression in show business at the time. 
He couldn't find a partner and he had 
never thought of working alone up to 
this time. On the first of January he 
finally got a week's work in a night 
club and was paid off with a bad 
check. Later he went to sing at the 
Old Yacht Club in New York and ii; 
was there that he got a fifty dollar tip 
singing "My Wild Irish Rose" for 
Walter Chrysler the automobile mag- 
nate and Harry Frazee then a noted 
theatrical magnate. 

There followed a long series of 
night club engagements in which he 
played at the Caravan Club in the 
Village, at Barney Gallants and The 
Silver Slipper. Meanwhile he was be- 
ginning to make phonograph records 
for every company except Victor. 
One of his phonograph records came 
to the attention of Eddie Dowiing 
when an alert Irish showman was 
planning his great success "Honey- 
moon Lane." Marvin was offered a 
part in the play and after the first 
night's performance Eddie King of 
the Victor Company came back stage 
to see him and offered him seventy- 
five dollars to sing a vocal chorus. 
Before long he had entered into a 
royalty contract with the Victor Com- 
pany and became one of their best 
selling artists. 

Marvin is one of the few recording 
stars who ever made fifty records all 
of which sold over five hundred thou- 
sand copies. The American public 
bought six hundred and fifty thousand 
copies of his records "Just Another 
Day" "Wasted Away" and seven hun- 
dred and fifty thousand copies of his 
"Tiptoe Through the Tulips." 

It was after his appearance in 
"Honeymoon Lane" that John F. 
Royal, now vice-president of the Na- 
tional Broadcasting Company booked 
him for his first single vaudeville en- 
gagement at the Palace theater in 
Cleveland. Then there followed sev- 
eral years of vaudeville headlining 
which ended abruptly more than a 
year ago when he was taken ill with 
pneumonia and physicians despaired 
of his life. But by rising at dawn 
and spending most of his time at his 
island, Lancaster Island in the St. 
Lawrence river, he regained his health 
and returned to singing with his voice 
in even better condition. 




I NOTICE by newspaper reports 
that Corse Payton, the old-time 
actor, is appearing in dramas on the 
air. I will be mighty glad to hear him, 
for Corse was one of Rector's favorite 
patrons, and a great fellow. 

He is indeed a veteran actor, having 
played many one-night stands in tank 
towns. He had the habit of giving wait- 
ers a free ticket to his shows instead 
of a cash tip. One afternoon he was 
out of free papers, so he wrote a pass 
on the waiter's shirt front. 

That evening the waiter presented the 
dickey at the door and it was honored 

and taken up like a regular ticket. But 
— five minutes later the waiter came 
flying out of the theatre at the end of a 
boot. Payton had kicked him out — for 
not wearing a shirt ! 

Corse Payton was the creator of the 
famous 10, 20, and 30 cent stock com- 
panies, known in the profession by the 
shorter description "ten, twent' and 
thirt"." He would tackle any show ever 
written, from burlesque to Hamlet. A 
fine- looking man he was, very well 
groomed, with the voice of a tragedian. 
I remember how fond he was of making 
speeches in Rector's. Once he stood up 

in our place and announced, "there are 
good actors, and there are bad actors, 
but look upon me — I am America's best 
bad actor." 

By the way, here is a recipe for one 
of Rector's specialties, and a dish of 
which Corse Payton was very fond : 

Heat 12 oysters in their own liquor 5 
minutes. Remove oysters with skimmer to 
hot serving dish. Add l / 2 cup cream sauce 
to oyster liquor and reduce by cooking over 
moderate flame for several minutes. Season 
with salt, a few grains of cayenne and a 
few grains of nutmeg. Thicken with 2 egg 
yolks, slightly beaten with 1 tablespoon of 
cream. Bring to a boil, remove from fire, 
add 1 tablespoon of butter and 1 teaspoon 
of strained lemon juice. Add Va cup sliced 
mushrooms and pour sauce of the oysters. 


He Loves Mountains 

(Continued from page 7) 

him. He began to climb the mountains 
of his ambitions, but he did not lose 
faith in his voice. At 18 he concen- 
trated on his singing and considered 
himself well started when he accepted 
an engagement with a church choir at 
$35 a month. 

Then came the World War and 
Tibbett joined the navy where he served 
honorably and well until the close of the 
war. After that he drifted about singing 
wherever he could at small concerts, 
churches, picture theatres. He tried 
acting and combined this experience 
with the rekindled ambition to go into 
opera. His first adventures in New 
York brought favorable notice from 
critics as the result of a concert in 
which most of the audience came by 

Subsequently he achieved the coveted 
audition for the Metropolitan Opera 
and his great success as Ford in Fal- 
staft". The audience called for him. He 
could not believe his own ears that it 
was Tibbett they wanted. He was com- 
pelled to return again and again for the 
ovation. In the morning he was a first 
page sensation. 

Sound pictures, and radio followed. 
And that in brief is the story of the 
great Tibbett as he comes down to new 
triumphs that seem to be in store for 
the forthcoming "Emperor Jones" and 
other great productions in which he will 
appear during the forthcoming season 
of grand opera. 

V V V 

Cheerio and Dragons 

I Continued from page 12) 

his own voice." "So silly I have to shut 
off the radio." "Concentrated good will 
lor somebody somewhere — Bologny!" 

Yet even some of these scoffers have 
become converts, have written in and 
said that they didn't understand but that 
now they do. 

Letters of criticism are but a drop in 
the bucket to the thousands of letters 
full of praise and gratitude. And this 
praise and gratitude can take a concrete 
form, too. . . . 

Earl}' in 1929 Cheerio asked his lis- 
teners if they wanted the broadcast to 
continue. Within the month 51,000 let- 
ters were mailed to NBC asking that 
t lie program be kept on. (Incidentally, 
this was the Mail Room record at that 
time.) A group of thirty-two blind vet- 
erans in a Canadian hospital offered, "If 
it is a question of money, we haven't 
got much, hut we can spare ten dollars 
a week, maybe more, if there's a 

And in 1930 came an even more dra- 
ma! ic proof of the loyalty of Cheerio's 

A certain manufacturer wanted to ad- 
vertise his product on the air over eleven 
stations in the central zone. The sales 
manager who made the deal — and who 
probably hasn't forgotten it yet — said, 
"Why, of course. Now here's the time 
for you, between eight-thirty and nine." 
"Fine," said the manufacturer, and the 
deal went through. The new program 
went on the air cutting out fifteen min- 
utes of Cheerio time. 

Well ! The first thing the manufac- 
turer knew thousands of letters were 
pouring in to him. Letters of praise 
for the new program ? No, indeed. Let- 
ters like this : "How dare you take 
away our Cheerio ?" "Your program 
is an insult to any Cheerio fan." "We'll 
boycott your products ; we'll tell all 
our friends to do so." "We'll never buy 
another so-and-so." 

There was a new shuffle very quickly. 
The manufacturer gladly took another 
hour. The central zone had the Cheerio 
hour in its entirety. All was quiet on 
the radio front. Which goes to show 
what it means to tamper with this kind 
of a broadcast.- 

That great circle of Cheerio listeners 
which so loyally stands by Cheerio, has 
its loyalty to individual members also, 
even though the members may not be 
known to one another. Contributions, 
entirely unsolicited, pour in to Cheerio 
whenever he tells of some needy case. 
Many a radio has been placed in the 
homes of the under-privileged by the 
Cheerio radio fund. 

A year ago last March was founded 
the order of the Red C. Perhaps you 
saw those red C's set in windows, pasted 
on the windshields of cars. There was 
one in a window of the White House in 
Washington. It seems that a listener 
wrote saying that she would like to know 
who in her town also listened to 
Cheerio, and suggested that during the 
Cheerio anniversary week — March 7 to 
March 14 — all Cheerio fans should put 
a red "C" in their windows. Cheerio 
read the letter .on the air and. the result 
was that all over the country thousands 
of homes came out with red "C's." Do 
you know of any other broadcast that 
would bring forth this response? 

A wonderful work Cheerio is doing. 
There has been abundant testimony 
thereto in the press. Perhaps no words 
sum him up any better than those of 
George Matthew Adams : "He has en- 
riched and beautified the lives of thou- 
sands upon thousands and brought new 
life to many." 

And he does good not only for his 
listeners, but for the whole radio in- 
dustry. For radio has its own partic- 
ular dragon. The dragon of popular 
opinion that there is too much com- 
mercialism on the air, too much blah- 
blah, too much mediocrity. 

Granted, but there is also Cheerio. 

Give Me Air 

(Continued from page 17) 
to allow Georgie to get across the hall 
to J. J.'s office.) 

Georgie — Hello, J. J. 

J. J. — Georgie, my boy. 

Georgie— Say J. J., Mr. Lee said I'd 
have to pay $175 for an apartment I've 
been looking at in the Jolson apart- 

J- J- — He did, eh? Georgie, you can 
have it for $150. 

Georgie — Yes, but I didn't want to 
go above $137.50. . 

J- J- — All right, Georgie, you tell the 
renting agent I said $137.50 was o. k. 

Georgie — Couldn't you call him up 
now and tell him? 

J. J. — No you call him, I'll talk to 

Georgie— Thanks J. J. Hello, oper- 
ator, get me . Hello. This is 

Georgie Price. Mr. Shubert said I was 
to have the apartment I was looking at 
for $137.50. 

Voice — (on the other end of the 
phone)— WHAT? 

Georgie — Just a second, you can talk 
to J. J. Here J. J. you tell him it's 
o. k. 

J. J. — (always in a rush) Hello, 
hello. Sure I said it was o. k. $137 50 
(hangs up receiver.) 

(Business of Georgie rushing out to 
sign a two-year lease at $137.50 a 

Georgie also delights in telling a story 
on his secretary, the very capable Joe 
Bronson. Joe is a Brooklyn boy, who 
used to be a gallery worshipper of 
Georgie's. No matter where Georgie 
was playing in the metropolitan area, 
Joe was sure to be in the theatre. Until 
he became an assistant manager for one 
of the Fox theatres in Brooklyn. Then 
one day Georgie got a telephone call. 

"Hello, Mr. Price, this is Joe Bron- 
son, assistant manager of the the- 
atre. Is there anything I can do for 

Such calls became frequent. For 
twelve years Joe admired Georgie from 
a distance, ready to do any favor 
Georgie might desire, until five months 
ago, Georgie put him on the payroll. 

"Some day I'm going to find out just 
what kind of office hours Joe is keep- 
ing," Georgie said, "I can never beat 
him down to my office in the morning 
no matter how early I get*jn, and no 
matter how late I leave ffe is always 

But about the radio. Three nights a 
week he entertains for Chase and San- 
born listeners, with a fourth program 
for the same sponsor in the making. 

"And to think," he concluded, "a few 
months ago I couldn't GIVE my serv- 
ices to radio. I offered to work for 
nothing, but they wouldn't have me. And 
today it has helped me break house rec- 
ords. Maybe you can give me the an- 


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COVER PORTRAIT, fane Vance, 
sings while they dance. 

GROFE* IN THE SUN. Great com- 
poser meets daivn of fame. 

introduced to the listeners. 

celebrates decade of radio. 

MAY and PETER. "Sweethearts of 
the Air" at home. 

genuine in her good deeds. 

cago maestro of light fantastic 

WESTERN STARS. Mildred Bailey 
and Donald No vis win laurels. 

COWGIRL. Margaret West is right 
from the Texas range. 

Snow Village Sketches tells facts. 

IRISH EYES. Tommy McLaughlin 
looks at fair interviewer. 

TUNEFUL TOPICS. Review of hits 
by chief Connecticut Yankee. 

EDITORIAL. Conflicting angles on 
radio educationals. 


MARCELLA. She answers questions 
about the radio celebs. 

WATANABE. That California Air 


Charles Sheldon 

John Rock 

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Nellie Revell 14 

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GeneGaudette 18 

■ 22 


Wm. Ford Manley 26 

Hilda Cole 27 

Rudy Vallee 28 

Ray Bill 32 


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Twists and 7urns 

With Radio People and Programs 

By Harold P. Brown 

SOMEHOW, in some intangible 
way, the Paul Whiteman concert 
at Carnegie Hall a few nights 
ago brought to this humble soul 
a thrill that was almost ecstasy. It was 
a fruition of a great life drama. A hap- 
py ending to a true story that involved 
all those elements so important to the 
dramatic — suspense, surging emotion 
and a smashing climax. But in this 
story there was no woman angle. It 
was all about two men — Paul White- 
man and Ferde Grofe. They are truly 
two souls with but a single thought, one 
conceives the thought, the other ex- 
presses it, and it is all through the me- 
dium of music, the finest and greatest of 
modern American music. 

Not so very long ago a dark miser- 
able cloud arose between these two gen- 
tlemen. What it was all about doesn't 
greatly matter now. But our under- 
standing is that Mr. Whiteman had 
planned to give the Grand Canyon Suite, 
Grofe's masterpiece, a spectacular pre- 
miere. The misunderstanding prevented 
it. Sadness prevailed. For years they 
had planned, schemed and played to- 
gether in the development of a great 
idea — a distinctive refinement of a truly 
American style of music. Grofe had 
worked behind the scenes dreaming and 
writing the cadenzas and melodic flur- 
ries that must be transferred from the 
imaginative mind to paper. He gave 
Whiteman the orchestrations that made 
Whiteman famous, but Whiteman, not 
unlike all other band leaders, took all 
the bows. It was not customary to go 
behind the scenes and bring out the 
individual who had conceived the idea. 
The glory was for the individual who 
presented it to the public. 

Finally came an estrangement and the 
two men, so vital to each other, drifted 
apart. Paul Whiteman's plans for the 
premiere of the Grand Canyon Suite 
failed. Both men played it, and Ferde 
Grofe became really famous, although 
he had already become known for sev- 
eral other notable compositions. There 
was no downright hostility, and mutual 
friends tried to bring the creator and 
translator together again. Eventually 
this came about. Grofe even wrote 
some Whiteman orchestrations. But it 
needed something big, something over- 
whelming to overcome all that had 

seamed and scarred their friendship the 
few months that had passed before. 

The concert at Carnegie Hall, ar- 
ranged by Whiteman, served that pur- 
pose. As the centerpiece for his pres- 
entations was The Grand Canyon Suite. 
In a box near the stage sat the com- 
poser. For many of that elite throng 
that filled every seat in the house, this 
unspoken, unwritten drama was wait- 
ing the climax. 

Paul Whiteman was keyed to his 
greatest pitch of intensity. He enthused 
every member of his orchestra, and he 
lifted them like magic into the fantasy 
Ferde Grofe had dreamed as he wrote. 
They played as they never had played 
before. It seemed to close observers 
that the maestro himself was almost 
overcome with his own emotions as the 
storm portrayal subsided and the last 
bars ended. He bowed, apparently in 
a daze. Then suddenly he stretched an 
arm to Grofe in the box, - who also was 
trembling. The audience thundered its 
applause. Grofe bowed, smiled and 
merged back into shadows. They called 
him back again and again. What a 
thrill ! What a thrill ! 

It is the fervent hope of those who 
know and admire these two great men 
that they will continue with this renewed 
mutual understanding to create and por- 
tray together the superb musical master- 
pieces that can reach the highest ap- 
proach to perfection only through the 
complementary genius of each to the 

DICK GORDON, deputy sheriff in 
a Connecticut town, and "Sher- 
lock Holmes" for a million or so lis- 
teners on the NBC Etheria modestly 
gives a great deal of credit for his suc- 
cess to the young lady who writes the 
scripts, Miss Edith Meiser. We were 
honored by a call from the eminent 
sleuth a few days ago and he said, "So 
much depends on the script when it 
comes to radio drama. The tendency is 
to write in too much of the obvious. 
It only takes a word or two to present 
the scene, like 'Stop ! Stop ! Another step 
and you'll be over the precipice.' You 
don't have to put in a lot of words about 
the precipice. The scene instantly 
flashes before your eye with dramatic 
emphasis. My wife has a script with 

Paul Whiteman 

two pages on which scarcely anything 
else is written but 'Yes' and 'No.' " Mr. 
Gordon proceeded to demonstrate the 
many different ways . by which a tele- 
phone listener can say "yes" and "no" 
and still be interesting. Try it out to 
yourself sometime. When he is not 
broadcasting or sheriffing Dick gives 
himself a treat by sawing and hammer- 
ing together heavy timbers in the base- 
ment of his home. Next to being an 
actor he would rather be a carpenter 
or a cabinet maker, and he's not sure 
but he'd rather make carpentering first. 

JUST as we go to press with this De- 
cember issue of Radio Digest we 
are in receipt of a letter from Jack B. 
Price, President of the International 
Radio Club of Miami. Jack conceived 
a great idea for cooperative publicity on 
the part of several radio stations affili- 
ated with the I. R. C. On the evenings 
of November 2, 3 and 4 through Sta- 
tion WIOD at Miami he paid back the 
nice compliments that had been paid 
to Miami through a hundred other sta- 
tions in the United States, and in Latin 
America, during the year. It was called 
the Third International Radio Party, 
for it represented the third season that 
the scheme has been successfully worked 

"The broadcasting has developed a 
closer relationship between the commu- 

nities," said Mr. Price. "And in the 
foreign countries there is a better feel- 
ing toward the United States as a re- 
sult of the international character of the 
programs. This radio contact comes 
down as a spirit of good will between 
the different countries. We have found 
the other nations very gracious in join- 
ing us in this enterprise." 

Among the entertainers who came to 
Miami for the occasion were the Lyrical 
Troubadors from CMK at the Hotel 
Plaza, Havana; Senorita Violeta Jime- 
nez, talented pianist and feature artist 
of the Havana Symphony Orchestra, 
and Senorita Auora de Almar, vocalist, 
daughter of the Consul General of Cos- 
ta Rica. 

IMAGINE writing and broadcasting 
a fifteen minute program six days 
a week for three years and missing only 
two clays out of that time ! That's the 
record of Amos 'n' Andy, otherwise 
Freeman F. Gosden and Charles J. Cor- 
rell. The days they missed were the 
days they were on the road to Holly- 
wood and back. Now they are going 
to have their Saturdays off like other 
human beings. It must be a tough job 
keeping a thing going like that and still 
remain on top of the heap, as recent 
surveys show that they still are. They 
have probably entertained more people 
than any other two persons who ever 
lived, not even excepting Charlie Chap- 
lin of the movies. 

ONE of the favorite gags of current 
comedians is to say unkind things 
of crooners and saxophone players. But 
there is one saxophone player who owes 
his life to his genius at playing the in- 
strument. He is a convict who was un- 
der sentence of death at the state pris- 
on in California. Anson Weeks, the 
maestro, knew the man when he was in 
California and greatly admired the mur- 
derer's saxophone playing. Because 
Weeks was known for h!s good work in 
prison charity he was able to have the 
death sentence commuted and now the 
sax-playing lifer is teaching other pris- 
oners to play the instrument. 

JAMES MELTON, the great NBC 
tenor, owns 35 hats. He finds it hard 
to pass a hat store without looking in 
the window. And if he sees a hat that 
strikes his fancy there'll have to be an- 
other peg to hang it on when he gets 
home. He can't resist buying. 

Next month, according to one of our 
mutual friends, Eddie Doherty who has 
"covered" the United States from coast 
to coast as representative of New York 
and Chicago newspapers, and who has 
written several thrilling novels based on 
his personal experiences, will become a 
microphone artist. According to pres- 
ent plans he will broadcast thrill inci- 
dents and accounts of famous trials ov- 

er a Columbia network extending from 

Here's a happy thought from Hendrik 
Van Loon, famous author on the GE 
period over NBC. He says the whole 
human race, numbering about two bil- 
lion persons could be put in a box meas- 
uring about half a mile in each direc- 
tion. The box could be dropped in the 
ocean without making any more com- 
motion in its 140,000,000 square miles 
of water than a box of matches dropped 
from an ocean liner. So, who do you 
think you are ? It may be well to re- 
member that whether you are or are 
not the two billion figure still stands. 

one of the founders of the Co- 
lumbia Broadcasting System who sold 
out to the William Paley regime, doubt- 
less had a profound influence on the 
life and career of Ted Husing. In those 
days Major White was the first and 
greatest of sports announcers. Ted was 
on the Major's staff as assistant to the 
president. When the new order came 
in Ted requested the privilege of fol- 
lowing in the Major's footsteps as a 
sports announcer. The request was 
granted. Perhaps if he had gone on 
being only assistant to the president he 
would still be an unknown. Incidental- 
ly there's a rumor that Major White 
will soon become a considerable factor 
in a new radio enterprise. 

Speaking of Major White reminds 
me of Lew White, Roxy's pet organist, 
who often travels the subway like the 
rest of us mundane creatures. We were 
going over to Teaneck and Lew stepped 
onto the escalator gleefully. "Gee," he 
said, "I just love these osculators." 

Stopped to chat with Madam Sylvia 
at NBC the other day. She sort of 
made Hollywood blush by writing "Hol- 
lywood Undressed." It seems she mas- 
seussed excess adipose off all the 
fair ones out there then told the naked 
truth. (In collaboration with James 
Whittaker). "I like New York very 
much," she said. "I don't think I'll 
ever go back to Hollywood." She 
twitched a nervous eye toward the door 
as she spoke. 

"Seth Parker is the greatest living 
evangelist today," declared C. C. Dow- 
ell at the Homecoming of the First 
Evangelical Church in Des Moines, la., 

Allen Prescott who spoofs the "lonely 
housewives" with his NBC program, 
"The Wife Saver" recently received a 
gift from a fair listener of a set of 
hand painted clothespins. 

Frank Crumit is shepherd of the 
Lambs Club in New York. 




"Your Favorite Radio Star" 

Watch for the 
release of his 
first starring short 



Follow his trail to the 

writing the music that 
portrays American life and 
the American scene as it 
exists today. He knows 
his subject for he too has 
lived under all conditions 
from the itinerant piano 
player to the maestro and 
composer acclaimed by the 
elite in the highest musical 
circles in the country. Re- 
cently he was appointed 
official composer and ar- 
ranger for Radio City, 
New York. 

Ferde Grofe' 



By John Rock 

IITTLE stories from the 
lives of the great — 
j especially the great 
composers who lived 
long ago — are always of in- 
terest to the radio listener. 
We hear of their personal 
griefs and triumphs and 
there is added glamour to the 
beauty of the things they 
created to please our aural 

How about the great composers of 
today? Perhaps their lives too will 
afford interesting moments to the 
generations of those times centuries 
to come. Certainly they live today 
in the same atmosphere of hope, 
suspense, disappointment and tri- 

That brings us to Ferde Grofe who 
is just now taking his place in the 
sun of American music. Here is a 
man who has lived in our times, an 
American, American born, typical, 
vigorous with a background that has 
touched on all phases of our life. He 
has had the genius to put his 
thoughts and our thoughts into great 
music such as the "Grand Canyon 
Suite," "Mississippi Suite," "Three 
Shades of Blue," "Metropolis," and his 
noteworthy collaboration in the 
Whiteman version of George Gersh- 
win's "Rhapsody in Blue." 

Grofe, the grubber, has tasted little 
of the sweet plaudits of the multiude 
until the past year. He worked be- 
hind the scenes putting little black 
dots on bars of music in bewildering 
profusion. He has been too occupied 
to go out and take his bow. Yet 
Rochmananoff, the great Russian 
composer, has gone on public record 
as saying that Ferde Grofe is Amer- 
ica's greatest living composer. 

Now his old friend and mentor, 
Paul Whiteman, the man who under- 
stands him best of all, and knows 
best how to interpret the things he 
writes in musical scores pulls aside 
the curtain and directs the spot to the 
modest man behind the scenes. 
Ferde Grofe has written all the or- 

Ferde Grofe at his work bench. 

chestral scores for Paul Whiteman in 
the glorious decade that made White- 
man the "King of Jazz." 

Grofe will never live to see his 
greatest fame although he is in good 
health and blessed with the normal 
expectancy of life. A thousand to 
one people who revere and love the 
brilliant musical creations of Victor 
Herbert had never heard them when 
he lived only a few short years 
ago. Grofe will obtain quicker rec- 
ognition because he is in the upward 
swing of radio. He was born on 
First street in New York City. At 
the age of seven he accompanied his 
mother to Leipsic where she attended 
the Royal Conservatory for three 
years, perfecting herself in playing 
the 'cello. When she returned she 
took him with her on a concert tour 
that ended up in the far West. 

JTERDE Grofe's grand- 
father and his father played with 
Sousa and Pryor. He was born to 
the world of music. But there had 
been times of doubt and disappoint- 
ment. It was early decreed that 
Ferde should become a business man. 
The efforts in that direction failed. 
In spite of all he followed music. 
He wandered about the West playing 
in music halls and inglorious places 
where there was a tune and a cheer 
to pass an idle hour. 

One evening I met him at the con- 
clusion of a Lucky Strike program in 
the NBC studios. He was formal, 
sedate, and the old German music 
master who had just finished direct- 

ing a symphonic orchestra. 
A rotund man, gracious but 
dignified. So many were 
crowding around him it was 
hard to form an estimate. 
Later I received an invitation 
to meet him at his home in 
Teaneck, N. J. With Lew 
White, the Roxy organist; 
and Hal Tillotson, I visited 
him there. 

The three of us wandered 
through narrow, dark streets until we 
came to his house, a three story brick 
of old English design. The house 
was nearly dark. A young man in a 
gray sweater met us at the door and 
ushered us up to the workshop. 
There I saw a far different Grofe. 
He too was casually dressed, a house 
sweater and shirt collar open at the 
throat. He looked ten years younger 
than he did in the NBC studio, and 
infinitely more human. I liked him 
instantly for a regular jolly human 
being, the president of the Grofe real 
estate company of Teaneck, in ap- 
pearance the personification of Mr. 
Babbit in Sinclair Lewis' book. 

"Sit down and make yourselves 
comfortable," he said, indicating con- 
venient lounging places. "I have to 
finish a couple of bars to "How Deep 
Is The Ocean' for tomorrow's re- 
cording and then I'll be at lib- 
erty. Go right ahead and talk as 
much as you please, it won't bother 

He sat at a long flat top desk in 
one of the dormers of his studio. 
Near the door where we had entered 
was his piano. At the opposite end 
was a great fireplace with a picture 
of his grandfather on the mantel. 
We mumbled among ourselves in an 
undertone so as not to disturb his 
thoughts. But Grofe cut right into 
our conversation, full voiced, and 
went right on with his work at the 
musical score before him. I asked 
him how he could write under such 
circumstances. He replied that it 
was all in his head anyway and he 
(Continued on page 37) 

TACK DENNY asking Mrs. Wm. R. K. Taylor, Jr. ; Miss Ruth 
J Magor, Miss Mimi Kountze, Miss Beatrice "Timmy" Dobbin, 
Miss Louise "Teddy" Lynch and Miss Elizabeth Quay to sus- 
tain a low "C" and it seems they're still holding it. 


By Charles 

AFTER five years away from the 
/\ center of radio and broadcasting, 
A- \^ Jack Denny returned from his 
Canadian hide-away to play at 
the Waldorf-Astoria in New York, and 
on all sides he heard the same wailing 
chant — "Radio Needs Something Differ- 
ent" — "Radio Needs Something New." 
The reverberations of these wails found 
their way under the Denny crust and 
Sir Jack set himself to thinking. 

Here he was, playing at the "World's 
Finest Hotel," surrounded by those peo- 
ple who have everything to their heart's 
content. Jack was singularly impressed 
by the bored nothing-to-do feeling they 
all seemed to manifest. Especially the 
young debutantes. Speaking to some of 
them, he discovered that their musical 
background was, as a rule, extensive. 

An informal moment between rehearsals with the Debs. Miss Dobbin, Jack 
Denny, Miss Lynch, Mrs. Taylor (left panel) and — 




Studies under the best vocal teachers 
both in this country and abroad seemed 
to be as common an educational equip- 
ment as spelling is to the average man's 

It was during these conversations that 
Denny would sometimes ask them what 
they thought of radio, and in every in- 
stance the response was highly enthusias- 
tic with a glimmer of new light coming 
into the eyes of the girls while they spoke 
about how "ga-rand" a thing Radio was. 
But that light would be dimmed when 
Denny asked them had they ever tried 
singing into a microphone. The invariable 
answer was negative and the cause was 
equally common. Their parents objected 
to their going to any of the radio stations 
and applying for auditions. 

(Continued on page 10) 

]y^R. DENNY congratulating Miss Jean Peeples and Mrs. 
Robert T. Ash as the two winners of the Washington, 
D. C, Denny Debutante Auditions. Both were rated as "first 
class" for radio and given their chance on the air. 

Miss Quay, Jennie Lang, Mrs. Taylor, Miss Magor, and Miss Kountze. Miss 
Gloria Braggiotti, "flying ambassadress" (panel). 


(Continued from page 9) 
That was all Denny needed. Here 
was a wealth of material, which if good, 
radio could very well utilize. So he 
immediately started a pleasant avenue 
to the realm of radio for those girls 
by himself giving auditions in the 

After hearing a few girls, the re- 
sponse became so great that Denny 
called in the talented Gloria Braggiotti, 
socially prominent throughout the East 
who had made her debut in Boston. 
Miss Braggiotti was asked to take com- 
plete charge of the Waldorf auditions 
with Jack Denny listening and picking 
those who showed the greatest ability. 


'NE of the very first of 
these "finds," was Mrs. William R. K. 
Taylor, Jr. The wife of one of the 
foremost and important brokers on Wall 
Street, Mrs. Taylor had a voice that 
was made to order for radio. Her qual- 
ities of sweetness, her range and her 
shading were so fine that Denny used 
her as his vocalist the very next day 
on the Lucky Strike Hour. All of last 
summer she sang and broadcast with 
Denny from the Starlight Roof Garden 
of the Waldorf, giving up a Summer's 
vacation in Europe to be with the 
Denny Debutantes. 

Another who has blazed her way with 
Jack Denny is Miss Beatrice "Timmy" 
Dobbins, a Baltimore debutante, who 
was visiting in New York and gave an 
audition. Miss Dobbin is the great- 
great-grand-daughter of Francis Scott 
Key, the composer of "The Star 
Spangled Banner." 

The Denny Debutantes are not with- 
out their sister team. The Kountze 
Sisters, Mimi and Natalie, daughters of 
the senior member of the famous Bank- 
ers and duets to the tune of Denny's 
music. "Teddy" Lynch, conceded to be 
the most beautiful debutante in Green- 
wich is another Denny Debutante who 
can be heard singing with Denny now 
in the Empire Room. Others who have 
sung with Jack were the Misses Eliza- 
beth Quay, Gwendolyn Fisk and Ruth 
Magor. Little Jeanie Lang, a St. Louis 
Debbie has proven to be one of the 
outstanding successes of the season. 
Critics have hailed her as the next lead- 
ing star of the air-waves. 

The success of the New York audi- 
tions soon reached other cities and the 
papers from Boston, Washington, D. C, 
Baltimore and Philadelphia all carried 
editorials about what the enterprising 
daughters of New York society were do- 
ing and why couldn't their young ladies 
do something similar. In answer to 
the^e, Jack sent Miss Gloria Braggiotti 
lo those sundry cities and had her give 
the girls of those towns radio audition. 
Miss Braggiotti did all her traveling 
by plane, thus acquiring the title of 
"Ambassadress of the air." 

In Boston the lovely Miss Nancy 
Whitman was the winner and she came 
to New York and sang with Denny for 
a week. In Washington, D. C, Miss 
Braggiotti ran into a problem. At the 
audition, two contestants were equally 
outstanding and poor Miss Braggiotti 
was in a quandry as to just what to do. 
Imagine her surprise and relief to see 
Mr. Denny walk in at the propitious 
moment he had driven to Laurel for 
the horse-races and had decided to 
"take-in" the Washington audition. 
Miss Braggiotti had the two girls again 
sing for Mr. Denny and he also feeling 
the same as Gloria, he chose both Miss 
Jean Peeples and Mrs. Robert T. Ash. 

In addition to Miss Dobbin, Balti- 
more has another representative in the 
Denny Debutantes in the person of 
Mrs. Campbell Coleston, wife of the 
famous Maryland Dr. Coleston. Mrs. 
Coleston won the audition given in Bal- 

And now, not satisfied in giving audi- 
tions in New York and in the surround- 
ing cities, Mr. Denny has sent Miss 
Braggiotti to Europe. She sailed on 
October 12th and will hold auditions in 
the leading Capitals of the continent. 
A wire, yet un-confirmed at the time of 
this writing, stated that Marchionesse 
of the world and historically famous 
Medici Family had won the audition 
in Rome. 

History tells stories of men who 
fight fate, men with new ideas trying 
to change the course of the political 
tide, idealists fighting with fervor for 
the adoption of their ideas. Such is 
the tale of Jack Denny, the high hat 
harmonist of jazz. 


'EN NY from the very 
first, staked his all on a hunch. Or 
perhaps it wasn't a hunch. Perhaps it 
was just a good idea waiting for the 
chance to break. Anyhow when Denny 
played at the Frivolity Club in New 
York six years ago, he was just another 
band leader with a lot of queer ideas 
about the way jazz should be handled. 
Denny's band did not blast out "sock" 
choruses. They didn't blare specialty 
"hot" tempos or jump up and down jug- 
gling brass hats. They just played reg- 
ular dance rhythm which somehow 
made you want to get up and dance, 
not clown around. But that was wrong. 
The collegiates were holding sway in 
the ball-rooms and society was aping 
the Peabody variations. Fast fox-trots 
were the order of the day. Duke El- 
lington, Vincent Lopez, Ted Lewis and 
the other disciples of hot jazz were the 
reigning potentates in the world of pop- 
ular music. No band was complete 
without a well-developed and versatile 
brass section. Denny didn't have any. 
He relied on strings, reeds and ryhthm 
instruments. He insisted that a band 
was not a combination of vaudeville 

trumpet arid trick trombone players, but 
a unit of dance music. He was right 
at that time as he is now. But the 
world was dance-mad. To proclaim 
Denny's heresy was suicide. So he re- 
mained where he was. 

Then the manager of the Mount Royal 
Hotel dropped in on Denny's orchestra. 
He had heard of the gentle-mannered, 
debonair sophisticated dance leader who 
could play Gershwin as well as he could 
Berlin. The continental swing of 
Denny's orchestra set the manager 
thinking that his British and French 
patrons in Montreal were beginning to 
be fed up on the blast-furnaces which 
were posing as jazz bands. He made 
Denny an offer. Denny figured it 
would do no harm to switch. He was 
tired of battling against the overwhelm- 
ing tide of Harlem-worshippers. He 
was a trifle weary of being called "ec- 
centric" and "high-brow." So he de- 
cided on the Montreal engagement. 
With a heavy heart he bade his men 
pack up for Canada. Denny felt as 
though this were an admission of defeat. 
It was voluntary expatriation, which 
for a musician amounts to surrender. 
Denny knew that all the men had these 
things in their minds. But he still clung 
to his ideas. "It has to change my 
way," he thought, "this brass lunged 
jazz-baby will die an early death from 
the sheer exertion of it. It is only a fad 
now but when the people wake up and 
come to their senses they will find that 
civilized dancing should be a gentle en- 
joyable form or recreation, not a mad 
whirling orgy." 

Whether it was the soothing effect of 
real music after a season of low-down 
jazz, whether it was the new environ- 
ment or the new audience, suffice it to 
say that Denny very shortly had the 
Mount Royal Hotel on its dignified ear. 
Old dowagers who had said farewell to 
their dancing days long ago, elderly 
gentlemen with rheumatism and wall- 
flowers of both sexes found themselves 
swaying to a rhythm that spelled danc- 
ing with ease. Once Jack Denny caught 
on, he spread like wildfire. His reputa- 
tion mounted. He was given a spot on 
a Canadian net-work. For five years 
Denny remained in Canada, building 
himself a reputation which grew as the 
popular taste in music advanced. The' 
continental flavor of his music and the 
universal appeal of his unostentatious 
rhythm gave to Denny's band the dis- 
tinctive effect which characterizes au- 
thentic and well-orchestrated jazz. 
Every man in the band was a thorough 
musician, every orchestration which 
Denny wrote, a piece of real musical 

It wasn't long before the big Amer- 
ican net-works began casting longing 
eyes across the St. Lawrence River. 
One Saturday night the Lucky Strike 
Hour switched in Jack Denny's band. 
(Continued on page 46) 


Mary Livingstone 

THIS is the saucy dark-eyed beauty who patters along with Jack 
Benny who is aleing with Ted Weems on CBS for Canada Dry. 
Now don't get your Dennys and your Bennys mixed. Mary Living- 
stone is Mrs. Jack Benny, and on Sunday night, November 13th she 
ran the skit by herself while hubby preceded the show to New York. 


zjill i\ight <Ls\laria" 

Major Bowes 1 Capitol Family 
Celebrates Tenth Anniversary 

GATHER round, Family. It's 
time to celebrate. Just think, 
it's been ten years now that we 
have been hearing radio pro- 
grams from the Capitol theatre in New 
York ! How time flies ! 

Yes sir, ten years it has been since 
you first heard the genial voice of Maj- 
or Edward Bowes speaking to you from 
across the ether wave on a Sabbath day. 
Sunday could not be quite complete 
without this Capitol Family gathering. 
For many it has a genuine meaning of 
family gathering — a sitting-together in 
widely separated parts of the country 
of relatives who know that at this hour 
their own flesh and blood, by prear- 
rangement and established custom, are 
attuned to the voices and words of the 
friendly host at the Capitol theatre. 

"All right, Maria — " He has just in- 
troduced Maria Silveira, the girl with 
the vibraphone voice whose picture 
faces you on the opposite page. He has 
perhaps told you that Miss Silveira has 
been creating something of a sensation 
with her rippling voice and original in- 
flections which give personality and 
charm. You may remember a few Sun- 
days ago he said he wanted to inter- 
view her for your information but 
Maria balked at telling her age although 
she really is a very young thing. 

But everything is "all right" with 
Major Bowes as he introduces the vari- 
ous members of his family who are on 
the stage with him at the time of the 
broadcast. You feel that you know the 
individuals, he makes them human, 
makes them talk to you, and it's almost 
like seeing them. 

And there's "Little Hannah Klein." 
Can't you almost see her as he tells her 
to climb up on the piano bench and play 
her piece for you. Of course Hannah 
is by no means a child. And the piece 
she plays may be a very difficult con- 
certo, but anyway she's just little Han- 
nah Klein to you, not a sophisticated 
young lady who has been playing at the 
Capitol, a Broadway theatre, for the 
five years. Little Hannah Klein — 
you just want to step up and pat her 
on the head and tell her yourself what 
a >weet child you think she is. 

Major Edward Bowes 

"Little Hannah Klein" 

Anywhere else the name of Yasha 
Bunchuk would probably make you 
straighten your tie or powder your nose 
because you were about to hear some- 
thing very ultra-ultra by one of those 
high-brow foreign musical geniuses. 
But to Major Bowes and the Capitol 
Family at noon time of a Sabbath day 
he's just — 

"All right, Yasha—" 

So Yasha turns to the boys in the or- 
chestra (as you may imagine) and with 

an inaudible tap on his music rack leads 
them off in something sublime and rest- 
ful to the soul ! And if your religion 
has been slipping a little it all comes 
back to you. God is in his Heaven and 
loves us all. 

Only Yasha remains of all those who 
have come and gone since the first pro- 
gram ten years ago. Roxy — you remem- 
ber when Roxy brought together his 
gang at the Capitol and for two and a 
half years led all others with his marve- 
lous Sunday shows on the air? Here 
was the real beginning of the showman- 
ship that has come to radio as it is 
known today. 


/ATER during the day 
when Roxy came on the air over the 
National Broadcasting Company with 
his new Gang he paid glowing tribute 
to Major Bowes and extended birthday 
greetings. George B. McClelland, as- 
sistant to the president, was present and 
extended felicitations on behalf of the 
NBC organization. The new Mayor- 
Elect O'Brien of New York was also 
present to express the good will of the 
City of New York to Major Bowes. 

And there's Westell Gordon, the lyric 
tenor. What a voice ! And the lovely 
songs that he sings. There always is 
something special for somebody every- 
where every time. And on the Anni- 
versary you heard Waldo Mayo with his 
wonderful violin ; Tom McLaughlin, the 
baritone, who has been making such a 
name for himself during the past year; 
also Nicholas Cosentino, the operatic 
tenor — all combined to make a wonder- 
ful day of that Tenth Anniversary. 

Blessings on Major Bowes, say we 
of the radio audience ! And let us not 
forget the excellent collaborator whose 
voice presents him each Sunday and 
sometimes substitutes when the Major 
leaves for a well earned holiday — Mil- 
ton Cross. God bless Major Bowes and 
may we hear him call his Capitol fam- 
ily together each Sunday for many 
years to come. We'll be listening to 
hear him say : 

"All right, Maria, let's hear 'Should 
auld acquaintance be forgot — ' " 


Maria Silveira 

YOU hear her every Sunday with Major Bowes and the Capitol Fam- 
ily over a coast-to-coast network of the National Broadcasting Com- 
pany. There is a silvery ripple to her voice, and a trick inflection that 
charms and delights. She's the Maria that you hear Major Bowes 
address when he says, "All right, Maria." 




ay an 

d Let 


By Nellie Revell 

"Somebody loves you — / want you to 

know " 

"Longs to be with you wherever 

yon go " 

(Peter's voice) "Good morning — that 

was May." 
(May's voice) "Hello, Everybody — 

that was Peter." 

THEN for fifteen minutes 
everything stops in the homes 
of thousands of radio listen- 
ers. There's no use trying to 
call a friend on the telephone during 
one of May-and-Peter's broadcasts. 
Save your time — and your nickel. No 
one answers the phone. Everyone is 
listening to May Singhi Breen and 
Peter de Rose — those universally 
loved "Sweethearts of the Air." 

Tis said that love begets love, and 
i' must be so, for May and Peter's 
love for each other has become all 
inclusive. Everyone whom they con- 
tact comes under its spell — and re- 
ciprocates it. 

And were it not for their youth, 
they would be called "Mamma and 
Papa" to the whole radio world ; for 
everyone on radio, especially in the 
East, knows and loves May and Peter. 
.More than one announcer,- musician, 
page,, hostess, and production man, 
and even a glittering star of radio, 

owes his or her first opportunity to 
May and Peter. Whenever one meets 
them dashing hurriedly out of a 

J\f OT long ago Miss Revell had the 
V^ pleasure of presenting The Sweet- 
hearts of the Air on her NBC program, 
as The Voice of Radio Digest. Then a 
great many readers requested that we pub- 
lish pictures of them. So Miss Revell visit- 
ed them at their home and discovered that 
they really did have a barrel of letters. 
Pictures were taken showing the barrel 
but owing to space limitations we had to 
cut Mr. Barrel off in order to get a good 
close-up view of Peter and May. 


studio, one knows they are on their 
way to answer some distress call. 
Everyone takes his trouble to May 
and Peter, and never fails to find a 
sympathetic solution to his problem. 
Perhaps it's a run down girl who is 
all alone in New York, and is in need 
of a long rest to avoid the White 
Plague. Or maybe it's a panicky 
young man who has just lost his job, 
and dreads telling his mother. Some- 
times it is a former radio favorite 
who feels he is slipping, and needs 
encouragement. But no matter what 

the cause of the pain, whether it be 
mental, physical, or financial — May 
and Peter find some remedy for it. 
And one leaves their presence with 
an altogether new understanding of 
the words "Somebody loves you — I 
want you to know." 

Knowing all this about my dear 
friends (than whom I want no better) 
imagine my delight when the editor 
of Radio Digest assigned me to do 
a story on how the "Sweethearts of 
the Air" build and select their request 
programs. Accompanied by my 
photographer, I lost no time in get- 
ting to the Commander Hotel on 
West 73rd Street, New York, for the 


.T BEING Sunday, I was 
sure of finding the Ukulele Lady and 
her composer husband at home an- 
swering fan mail. . . The elevator shot 
up to the tenth, and top floor. In a 
few seconds I was standing before the 
door of Suite 1010-20. As I heard 
May's infectious laughter ring out, I 
quickly pressed the bell. 

I entered the spacious living 
room, and almost stumbled over 
the curly-headed, plump little Ukulele 
Lady seated cross-legged on the floor, 
with fan letters scattered all about 

I her, which she seemed to be reading 
and sorting into neat little stacks. 
And as fast as she sorted them. 
Daddy Singhi pulled others out of Na- 
tional Broadcasting Co. envelopes, and 
from his comfortable place, on the 
divan, tossed them down to his 
daughter while hubby Peter, at the 
baby grand piano, was evidently 
jotting down song requests which 
May handed him. Seated at a hand- 
some mahogany table nearby, May's 
sister Carrie was rapidly addressing 

The room fairly breathed an at- 
mosphere of welcome. One could not 
possibly feel like an intruder. There 
was an intimacy about it that made 
one feel at home — possibly it was the 
"feminine" touch — pillows placed in- 
vitingly about — odd lamps glowing in 
corners — novelty cigarette lighters to 
amuse . . . and last, but certainly not 
least in May's affection, the goldfish. 

"This is certainly what I'd call a 
lucky break," I greeted. "Why right 
before me, I see the answer to my 
questions. . . ." 

"And it's lucky for us, too, that 
you dropped in, for we certainly are 
up to our necks . . . Just toss off your 
coat, roll up your sleeves, and treat 
this as you would your own fan mail," 
May invited. 

"Do you mind if I throw my coat 
on that beautiful orchid bed in the 
next room?" I had to see it — my 
curiosity was getting the best of me. 

"Go ahead — have a good look at it 
— that's the bed May was born in," 
Daddy Singhi proudly informed me. 

I went investigating. Never had I 
seen such a massive mahogany bed- 
room suite ! The dresser extended at 
least a quarter of the length of the 
room. Its glass top was a huge 
frame for photographs of radio and 
stage friends which May and Peter 
had slipped under it. 

In the little anteroom, adjoining 
the living room and bedroom, a huge 
cabinet caught my eye. On its top 
were scattered sheets of music, and 
closer inspection disclosed numerous 
drawers all alphabetized. This, ob- 

Pviously, was part of Peter de Rose's 
music library of songs — many of 
them contributed by radio fans. 

"I'm sure you'll find much more in- 
teresting things out here," May 
coaxed, as I delayed. 

And sure enough I did ! Right in 
the middle of the floor, the maid had 
placed a barrel, overflowing with let- 
ters. Maybe that was her idea of a 
barrel of fun on a Sunday afternoon 

but I just couldn't see it that way. 

"There you see the source of our 
programs," Peter volunteered. "They 
say one has to dig for knowledge — 
so here's your chance, ye Inquisitive 
One ! 

"It would take more than a barrel 

to stop me now," I bragged . . . but 
I'm not saying what two would do. 
Well, here goes. ..." and I pulled 
out a handful of letters. 

"If you come across any requests 
for 'Back in the Old Sunday School' 
please put them in this large en- 
velope," directed the Ukulele Lady. 
"Of all Peter's compositions, includ- 
ing our popular theme song 'Some- 
body Loves You' and the number he 
wrote on our first wedding anniver- 
sary 'When Your Hair Has Turned 
To Silver,' this 'Back in the Old 
Sunday School' has brought the most 
requests for copies, and letters of ap- 
preciation. So we've concluded that 
it is the simple ballads which have a 
universal appeal. Folks like to keep 
alive their ideals through song. And 
that's the observation of Phillips 
Lord, too, with whom I collaborated 
on the lyrics," May commented as we 
glanced at one letter after another. 

.FROM everywhere came 
these letters some postmarked Massa- 
chusetts, Florida, Ohio, New Jersey, 
Connecticut, New York, and Colo- 
rado, and apropos of May's remark I'd 
say that there are still many people 
who cherish Sunday School, through- 
out the country. Also that Silver and 
Golden Wedding Anniversaries are 
not uncommon. Here is a request, 
from a minister's daughter in Colo- 
rado, for you to sing 'Back in the 
Old Sunday School' as a surprise on 
the nineteenth wedding anniversary 
of her father and mother. And here 
is one from a crippled lady of seven- 
ty-five, who was a member of a 
Methodist church choir for forty 
years. This one is from a farmer's 
wife, who says she listens in every 
Saturday to the 'Sweethearts of the 


Air,' while she does her baking, as 
that is the only time she has to listen 
to the radio. She wants you to sing 
'Under the Old Umbrella,' and 'The 
Little Old Church in the Wildwood' 
on her nineteenth wedding anniver- 
sary. Now here is a bit of thought- 
fulness — a daughter is asking you to 
sing 'Put On Your Old Grey Bon- 
net' as a surprise on her mother's 
twenty-fifth wedding anniversary. 
And, believe it or not, here are a 
couple married thirty-six years, who 
would like to hear the 'Sweethearts 
of the Air' sing 'Silver Threads 
Among the Gold' . . . Mmmmm, the 
ministers who joined them together 
must have used cement — too bad 
more of it isn't used today." 

With a sigh and a smile May glanced 
up from her sorting to remark: "It's 
surprising the slant on human nature 
that Peter and I get from our fan 
letters. It is truly inspiring — for it 
reveals that those sterling qualities of 
unselfishness, faith, and love have sur- 
mounted the evil effects of the world 
war — the Jazz Age — the bootleggers 
— and the depression. We have daily 
evidence of children's thoughtfulness 
for their parents in requests for their 
favorite songs on their parents' birth- 
days and anniversaries ; mothers ask- 
ing for children's songs ; sweethearts 
sending messages to each other. Why 
a man wrote that he and his sweet- 
heart had been separated for years 
because of a serious illness, but that 
they were to see each other again 
for only a few hours, which would 
be made more happy if we would sing 
'Paradise' for them at that time. 
Then there is the chap in prison who 
asked us to sing a certain song for 
his wife — and her request in return. 
And there are the deserted husbands, 
wives, lovers still holding fast to their 
dreams . . . their letters always pleas 
for us to sing especial favorites in 
the hope they will awaken memories 
and bring the straying loved ones 
back again. These radio friends tell 
us their faith in romance is kept alive 
by the duration of our romance, for 
they've been bearing Peter and me on 
the air for a good many years now, 
and believe in us." 

Her words recalled to me the in- 
ception of the Breen de Rose romance. 
May and Peter had been singing love 
songs together for a good many years, 
when Mr. and Mrs. Public decided to 
play Cupid by writing letters to each 
saying that they knew the 'Sweet- 
hearts of the Air' must be engaged or 
married or they could not put so 
much feeling into their songs. And 
then an admiring listener. Dr. David 
Minor, a retired minister, wrote and 
asked if he could meet them, and 
when he did so, the "two" were made 
"one," and for the last three years 
(Continued on page 37 i 

incerely fours. 


J) m ith 

By Mildred Miller 

DON'T ever let any of the New 
York smoke eaters hear you 
say anything against Kate 
Smith. And you better watch 
yourself if you make any insinuations 
about her motives for singing for the 
war veterans around where the veterans 
get their hospital chow. And that goes 
for all those who think they know it all 
down Broadway and have an idea that 
nothing fine or good is done without a 
selfish motive attached. 

For whatever else she does and is 
Kate Smith, the Songbird of the South, 
is sincere. Don't ever forget that. 

Now she is seeing California for the 
first time. And California is looking 
at her through camera eyes that will 
carry a story woven around her robust 
figure for all the world to see and 
hear. Yes, Mr. and Mrs. Radio Lis- 
tener your Kate Smith is going places 
and seeing things. 

But the reason her friend Pat came 
up to Radio Digest to see the editor 
was because somebody had been making 

" ~~\/f^N'^ ingratitude to man — " 

< ' r-L is theme for a poem. Friends 

of Kate Smith feel she is a victim of 
that curse. Pat brings a new slant on 
the character of the "Songbird of the 
South" as he explains to Miss Miller. 
Read it and you'll never doubt Kate 
Smith's rugged sincerity of purpose. 

cracks about Kate not being on the 
level in all the nice things she has done 
for the boys who came out of the war 
minus parts and parcels of their anat- 
omy, the same which has kept them 
confined in hospitals. Kate is all for 
them. When she gets paid for singing 
she gets paid plenty, but she's not crazy 
about money. She gets a lot more fun 
singing for people who enjoy seeing 
her and hearing her and it doesn't cost 
them a cent. Kate really sings for love 
and likes it even better than singing for 
money. Let's have that settled now and 
forever. We must in order to satisfy 

her friend Pat on that score. Pat in- 
sists, not only for his friend, Kate 
Smith, but for 573,000 firemen of the 
Uniformed Firemen's Association of 
Greater New York. Pat was bitterly 
aggrieved although he had considered 
the men who wrote pieces in the New 
York papers about Kate refusing to sing 
at a certain benefit as among his 

"Now I'm not particular about quar- 
relling with these boys," he explained, 
"because they are sorry for what they 
said and have apologized, but I'm afraid 
harm has been done and will you please 
put it in Radio Digest that Kate is the 
finest, grandest young lady that it has 
ever been the pleasure of us to hear. 
And, Miss, you know yourself how she 
goes about the country singing in the 
hospitals for the sick and the afflicted, 
and it isn't once in a hundred times that 
ever a thing about it gets into the 
papers, so why could anyone be sayin' 
it is for publicity she seeks. No, not 
at all, at all. 

Kate visiting the boys at the Naval Hospital in Brooklyn 

"I'd like to tell you about the cam- 
paign for the eight hour day for the 
New York firemen. It started about 
the same time that Katy began singin' 
on the radio for the Columbia Broad- 
casting System — and it was a hard time 
she had getting started just the same as 
anybody else, if you must know — and 
Jimmy Chambers, excuse me, I mean 
Mr. James F. Chambers, Executive 
Secretary of the Uni- 
formed Firemen's As- 
sociation of Greater 
New York (please put 
all that in the story) 
he was head over 
heels in the campaign 
when of a sudden one 
night his boss, Vinny, 
I mean Vincent J. 
Kane, president of the 
organization, turned 
the dial, and whist, he 
heard a voice that 
made him think 'twas 
sure enough an angel 
singin' down to the 
earth from the pearly 
gates of heaven. Well, 
Miss, who should it 
be that he heard but 
Katy, I mean Kate 
Smith, the Songbird 
of the South. 

sound of their shouts and applause as 
Kate received the badge." 

Pat submitted something written by 
one of his newspaper friends which was 
about as follows : 

Through her association with the 
smoke eaters Kate was brought to hos- 
pitals where were quartered former 
buddies of these firemen when they were 
in service. Would Kate sing for the 




Kane, calls up 
Chambers and says 
he to Mr. Chambers 
'Did you hear that 
girl, Kate Smith sing- 
in' on the rad-dio?' 
And Mr. Chambers 
says, 'No, who ?' and 
betwixt them it hap- 
pens to Mr. Chambers 
to try and make a call 
to Miss Smith by tele- 
phone, and he asks 
would she be singin' 
a song for the fire- 
men in their campaign 
for the eight hour 
day. And what do 
you suppose she says ? 
She says 'Sure, she'd be glad to.' 
And in less than a week it was every 
single one of those 573,000 fire fight- 
ers knew that Kate Smith was a 
friend. And they lost no time adopt- 
ing her into their organization as a reg- 
ular buddy. 

"Well it was grand. Kate was all 
for them and they could not do enough 
for her. Then came the grand ball at 
Madison Square Garden and the largest 
dance ever held there — 26,000 tickets 
were sold — and Kate was the guest of 
honor. There was plenty of grand 
speech makin' and Kate was presented 
with a gold fireman's badge. The rafters 
of the great hall trembled with the 


dience its every wish. She developed 
the idea of Service, and she gave Serv- 
ice. This she maintained when she at- 
tained the heights of a salary and 
carried it to the stage of the houses on 
Broadway. The letter again appeared 
as the beginning of Success and it also 
begins her name as well as her billing 
"Songbird of the South." 

Kate's greatest failing is acknowl- 
edged in her inability 
to pronounce a mono- 
syllable, the shortest in 
the English language. 
Many others have the 
same difficulty to ut- 
ter that identical 
word, NO. Will you 
appear for a bene- 
fit at our church? 
Sure. Will you sing 
for our Legion Post? 
Sure. Will you come 
over to the crippled 
children hospital? 
Sure. Thus Kate, be- 
cause of her inability 
to pronounce two let- 
ters became the 
world's greatest bene- 
fit artist. 


Kate Smith before the camera 

wounded men ? Certainly. The first 
arrangements for Kate's appearance in 
hospital was planned by the firemen, 
members of the American Legion. Then 
Kate acquired another batch of friends 
making her own personal audience 
more than a million. Nurses, doctors, 
Red Cross, hospital superintendents 
numbered themselves amongst her 
friends and along came her sponsor on 
the air. Kate has continued with this 
one program for almost two years, her 
contract runs that long. 

The nineteenth letter in the alphabet 
means much to Kate, for it begins the 
words that have been much in her life. 
She always believed in giving the au- 

where the call was for 
Kate Smith for any 
and every benefit, and 
there is an average of 
one a night and some 
times five. Most are 
worthy but the benefit 
game has resulted into 
one of Broadway's 
finest rackets. 

Many interesting 
occurrences arise in 
the course of these 
transactions. The in- 
vited artists have but 
little time to learn the 
worthiness of some 
of the benefits. Many 
times the artists are 
called on to do the 
promoter or manager 
a favor. Kate re- 
calls one such affair. It seems that 
a certain newspaper man made a repu- 
tation for himself with the boss by 
turning benefits promoted by the paper 
into success. He would put it up to 
Miss Smith as "one Irishman to an- 
other" to help put the dinner over. 
Kate came and sang. Then, one day, a 
call came for her help. She was too ill 
to go. The writer chap said he'd get 
her. But he didn't. Then he circu- 
lated the yarn that she was insincere. 
Did that burn the firemen up ? It did. 
That's why Pat visited the Radio Di- 
gest. He wants all you listeners to 
know that Kate Smith is always "Sin- 
cerely Yours." 

Don 'Bestor 


By Gene Gaudette 

<< < 


tha 'the'? Isn't Lexington 
some place in Kentucky?" 

That was Don Bestor's first ques- 
tion when his manager informed him 
he had been booked for The Lexing- 
ton. Of course if the manager had 
said "The Lexington" in Chicago it 
would have been different. Don 
would have packed up and headed for 
a hotel on the South Side in his old 
home town. But it did not take him 
long to learn that "The Lexington" 
toward which he was turned with his 
band was "The Lexington Hotel" of 
New York — one of smart hostelries 
of Manhattan. 

Don makes himself at home any- 
where. He has been playing at the 
very luxurious William Penn Hotel 
in Pittsburgh, and that last night of 
his engagement was one long to be 
remembered. Distinguished guests 
came from East and West in his 
honor to make it a very gala gala 
affair. A flock of aviators flew into 
the town to help Don celebrate a very 
successful season. 

And now he is doing it all over 
again in the very nerve center of the 
broadcasting networks of the country. 
He is writing new music, and giving 
the NBC listeners thrills right from 
the Lexington dance floor. He has 
Art Jarrett with him. Art is the 
youngster who had to go West from 
his native town of Brooklyn to find 
fame in Kansas City, Chicago and 

Two important sponsors have al- 
ready sought the Bestor orchestra but 
nothing can be done about it until 
the Midwestern boys have been in 
New York for six months in a row 
when they will be eligible to mem- 
bership in the local musicians' union. 

"Why can't you use the local mu- 
sicians until your own men are 
eligible?" asked one of the advertis- 
ing representatives. 

"What? I should say not!" ex- 
claimed the young maestro. "We 
stick together whatever comes or 
doesn't come." 

There is a deep burr in Bestor's 
voice and if he hadn't turned out to 
be a top grade hand conductor he 
might have qualified at the micro- 
phone as the world's finest announcer. 

Don Bestor 

Incidentally it is an interesting fact 
to remember that Don Bestor was 
sharing Chicago honors with Isham 
Jones in much the same manner as 
Paul Whiteman was winning his first 

popularity in New York. Bestor or- 
chestras were in demand in all the 
Midwestern cities in a new wildfire 
vogue for smart dance orchestras. 
And it is said that Whiteman and 
Bestor were the first two orchestra 
leaders ever to receive radio fan mail. 

Don went into records for the Vic- 
tor company. Last Spring he decided 
to head for New York and was 
booked at the Hotel New Yorker. 
He was only supposed to stay two 
weeks but he stayed all Summer. His 
departure for the Pittsburgh engage- 
ment disrupted his continuous en- 
gagement in New York and pre- 
vented him taking the commercial 
programs that were offered. 

Now he has made up his mind to 
stick. He is on the air over an NBC- 
WEAF hook-up four nights a week 
and it is possible before this comes 
into print he will have a Sunday 
night program over WJZ. He is re- 
cording again. And you'll remember 
this old song he created some years 
ago, "Down by the Winegar Woiks." 
His latest hit is "Contented" just re- 
leased a few weeks ago. 


OW let's turn to the 
other member of the new air com- 
bination, Arthur Jarrett. Three years 
ago he was the featured vocalist in 
a dance band. Then he became one 
of Chicago's most popular air vocal- 
ists. And today, he stands among 
the leaders of his profession with 
national fame. Young, clever and re- 
tiring, he could easily pose for a collar 
advertisement. Or one of those 
artist's conceptions of a collegiate. 

Several years ago, while listening to 
a band in the Muelebach Grill, Kan- 
sas City, he fervently exclaimed, 
"Some day I'll have an orchestra like 
that accompanying me during my 
broadcasts. That orchestra was Don 
Bestor's and today Art Jarrett has his 
wish. NBC wanted to give the public 
something new in sustaining pro- 
grams and combined the two stars. 

The singer's father is Arthur 
Jarrett, Sr., the actor. His uncle is 
Dan Jarrett, the playwright and di- 
rector. Dan Jarrett goes out to 
Hollywood to direct for Fox Films 
next month so Art will lose one of 
his best pals. 

Art attended Fordham and sang in 
a New York orchestra to earn his 
own spending money. Left educa- 
tion for music when he quit Fordham 
to join Ted Weems. Stayed with 
Weems for four years and was a 
sensation. Had them standing in the 
aisles in Chicago. When Weems left 
Chicago, Art remained with three 
good radio contracts. His fan mail 
was most satisfactory during that 
period. Then he joined Earl Burt- 
nett and played into Chicago theatres. 


Betty Webb 

BUT they do not call her Betty in the story of Omar Khayyam as 
you hear it over the CBS-WABC system from New York. On 
the air she is the seductive dusky beauty known as Nur-Ulan. She 
is from the stage, including three Broadway successes. Her Omar 
is enacted by Stuart Buchanan, famous in featured Hollywood pictures. 


■*- come back to the fore 
with his remarkable band and 
swept all question as to his 
regal supremacy beyond the 
last reasonable doubt. His 
remarkable Fourth Experi- 
mental Concert at Carnegie 
Hall during the past month 
proved that, with Ferde Grofe 
"keeping score," there is a 
type of American music that 
can do the nation proud. 
Paul's radio programs with 
Soloists Jack Fulton, Irene 
Taylor, Ramona and Jane 
Vance (whose portrait adorns 
this Radio Digest cover) are 
adding new luster to his fame. 

Jack Fulton 

Ted Weems 


Paul Whiteman 

jLTERE you have an excel- 
-*■■*■ lent close-up of Ted 
Weems and his All-American 
Band. Don't say you do not 
know what "All-American" 
means ! That means every 
member is a college graduate, 
and the colleges are scattered 
all over America. For these 
college youths Nature in the 
Rah is seldom mild, so that's 
why they seem so hilarious 
at the moment. They are just 
getting settled down to their 
new locale in the Pennsyl- 
vania Grill in New York after 
a happy season in New Or- 
leans. Jack Benny skit-daddies 
along with them in their 
ginger ale program. 




Mildred Bailey 

By Mildred Bailey 

The Sweet Singer of Spbkane 

THE studio elevator swooped down 
the shaft with sickening speed. I 
was tired. And behind the barrier 
of the velour cord and brass posts on the 
ground floor there waited, ambushed, the 
usual ordeal of fans with dripping pens 
and open autograph albums foisted for- 
ward, milling, shoving, jostling to get 

My head ached. I had scarcely recov- 
ered from a severe case of the grippe. To 
go on the air at all I had drawn on my 
reserve of emotional energy until I seemed 
sapped, empty. I felt limp, crumpled, 
ready to drop with fatigue. 

But there wasn't anything to do but face 
these people who had been wating to see me. 

"Miss Bailey, won't you mention my 
name on your broadcast next week?" 

"Miss Bailey, I'm collecting autographs. 
I have a Russian grand duke's and Fatty 
Arbuckle's and even Al Capone's — " 

"Miss Bailey, I would like to interest 
you in these Italian lozenges. They im- 
prove your voice. They keep you from 
getting a cold. The formula was prepared 
especially for Caruso. They are only fif- 
teen cents a box. For you maybe I could 
get a special price on twenty-four boxes — " 

"Won't you sign something in my book, 
Miss Bailey? Say something real nice. 
Say I'm your best friend, and we — " 

"Miss Bailey, up at Brooklyn Central 
High School we're trying to buy soccer 
suits for the team, and we thought if we 
could get you to sing at a benefit so we 
could sell tickets, and — " 

"Miss Bailey, I got a song I wrote. 
And, boy, oh, boy, is it a wow ! If you'd 
just sing it two or three times on every 
program, kinda make it your theme song, 
I'd make a pile of dough, and I'd let you 
in for a cut, see? It goes like this, 'They 
called him knock-kneed Abey; And he had 
a cross-eyed baby; Dum Da Dee Dum 
Dum— ' " 

I could have shrieked at them or sobbed, 
pleading with them to leave me alone, let 
me go home. But I happen to be super- 
sensitive when it comes to rebuffs and 
humiliations myself so I couldn't be unkind. 
(Continued on page 47) 



By Donald Novis 

The Sweet Singer of California 

I DON'T believe I'm exaggerating when 
I say that I had to sing. 
Some people arrive as musicians 
because they've had a musical objective in 
mind through the years. I guess I've got- 
ten into radio largely through the encour- 
agement of my family, my friends and my 
teachers. If I had had my way about it, 
I am sure that I would now be a teacher 
of physical education. Perhaps I'd even be 
coaching some high school or junior col- 
lege team out in California, my home state. 

Be that as it may, I'm here and I hope 
to remain as a singer for years to come. 

So many people have asked me how I 
got bitten with the radio bug and how I 
happened to win the National Atwater 
Kent radio auditions over the NBC in 1928 
that I'll set it down here briefly. 

Perhaps I ought to go back to Hastings, 
England, where I first saw the light of day 
on March 30, 1907. That is a bit impor- 
tant because it has a bearing on my present 
singing career. 

My father was Welsh. He came of a 
long line of singing people. The Welsh 
airs were as thoroughly ingrained in his 
make-up as the thick brogue of old Wales 
was stamped early in life upon his speech. 
He often said he could not remember when 
he first learned to sing. Welsh people 
don't learn to sing, I guess. They just do 
it as naturally as breathing or eating. So, 
with this tradition behind him, my father 
just had to sing, too. 

By day he was a cobbler and on Sundays 
he raised his rich baritone in the choir of 
that quaint little English church which you 
will see today if you visit the historic spot 
where William the Conqueror defeated 
Harold II in 1066 in the southernmost 
section of the "tight little Isle." 

Of course I don't remember anything 
about Hastings or my sojourn there. My 
very first recollections are bound up with 
my family's crossing to Canada. I never 
shall forget those earliest impressions, the 
big ship, the towering waves and the wide 
deck where my father took me walking. 
That was an awesome experience, and not 
easily forgotten. 

(Continued on page 46) 

Donald Novis 


That Broadcastin ' 



Sj/ ^hCarie-cQouise \)an J\lyke 

WHEN Margaret West, or "The 
Texas Cowgirl" as she's known 
to you dial-twisters, sings her 
cowboy songs, or plaintive Mexican 
love tunes she knows whereof she sings. 
Because if ever anyone ever had a 
right to the title of "Texas Cowgirl," 
Margaret West has that right. 

She's not the drug store variety of 
cowgirl like so many alleged sons and 
daughters of the West who have vis- 
ited New York, in their ten gallon hats 
and chaps and who have never been on 
a horse, and rarely been farther West 
than the west bank of the Hudson. For 
these "professional" cowboys she has 
nothing but disdain, and rightly. 

Because she was born on a ranch, 
lived there all her life, and is truly a 
daughter of the plains. The famous 
Rafter "S" Ranch, owned by her father, 
George W. West, one of Texas' most 
prominent ranchmen, was her birth- 

By the time she had cut her first 
tooth, and, incidently she did her teeth- 
ing on the handle of her grandfather's 
pistol (no pink celluloid teething rings 
for her, thank you) she could ride a 
horse. From that time on she's been 
as much at home on a horse as New 
Yorkers are in a subway. 

She's grown up with the legends and 
stories of early Texas, told to her at an 
age when most children were learning 
Mother Goose stories. The famous 
legends of the old Texas cattle trails, 
used by the early ranchmen to drive 
their herds to the markets have been 
handed down to her by her grandfather, 
Sol West, who was an early settler, and 
one of the most famous trail-drivers. 

Margaret has punched cattle, branded 
them, roped them, herded them, like a 
true cowboy. At times, when her father 
was called away, she has managed the 
ranch for him, and once,- put over a big 
cattle sale, that he had been trying in 
vain to negotiate. Despite his chagrin 
at being bettered by his daughter, in his 
own business, he was justly and duly 
proud of her. 

Going out to camp on the ranch, away 
from the ranch house for days, is one of 
Margaret's chief joys, when she's in 
Texas. Hunting, fishing and rounding 
up the. cattle with the rest of the men, 
is life as it should be lived, to her. Al- 

though they carry a cook on these trips, 
Margaret is chief supervisor of the 
"chuck wagon," or kitchen, to you. She 
describes it as a covered wagon, the 
door in back folding down, to form a 
table when meals are being prepared. 
The inside is lined with shelves, carry- 
ing all the cooking utensils and sup- 

And when the day's work is over, 
and the evening meal has been dis- 
pensed with, which doesn't take long for 
a lot of hungry men of the open to ac- 
complish, then they all gather round the 
campfire and Margaret, to the accom- 
paniment of a guitar, sings her cowboy 
songs and the men exchange anecdotes 

of prairie life and the Lone Star State. 

On one of these trips, she had one 
of the most thrilling experiences of her 
life. It was just sundown, and as she 
was heading toward the chuck wagon, 
she saw a rattler, coiled not more than 
a foot back of one of the men, poised 
to strike. Without saying a word to 
him, out came her revolver, she sighted, 
and fired, and when the smoke cleared, 
the snake lay writhing, minus his head. 
It was a close call, she admitted. But 
she knew she would hit either the rat- 
tler or the man's foot, and luckily for 
him, she was a good shot. 

Once a week, on Friday, at 12 :45 she 
broadcasts over station WINS, in a 
program of cowboy songs and stories. 
She wants to bring the true picture of 
the West to Easterners, because she feels 
they have no idea of the real West, as 
she knows it. 

And when she sings her songs and 
tells her stories the West is truly 
brought East, in an enjoyable and unu- 
sual program. 

She sings with a dash and spirit that 
is inimitable. She enjoys singing the 
songs of the range because it takes her 
back to Texas, just as surely as it brings 
Texas to her listeners. 

THEM'S not just stage clothes you see on Margaret West. She 
wears 'em every day like that back home on the big ranch where 
she was brought up. Her dad owns the famous Rafter "S" Ranch in 
Texas, she's herded on the range, loaded cattle and sold 'em to the 
market. Now she sings for New York broadcasting stations. 


Editor's Note: Because we believe that 
there are numerous yoicng amateurs among 
our readers who have bands which play 
now and then, but who hope to become 
professionals, or have already started on 
this path, we are publishing a few words 
of advice from one who once was in the 
same position. In the following article, 
Peter Van Steden, whose 1 5 -piece or- 
chestra has been heard on the NBC's Bar- 
basol program twice weekly, offers a few 

NEITHER luck nor pull is neces- 
sary for a dance orchestra to 
succeed. What you really need 
is plenty of patience and lots of hard 
work. Don't wait for success to come 
to you. It won't — you'll have to strug- 
gle to reach the top, and then keep right 
on working to stay there, for music is 
the same as any other business, and it 
takes a long time to build up public ac- 

In this article, I shall try to erect a 
few sign-posts along your path to suc- 

The first one is : Don't expect fame 
and fortune to come over night. Prac- 
tically every dance orchestra leader of 
any consequence is over thirty years 
old, and there are some who did not 
reach the top of the ladder until they 
were nearly fifty. 

Words of Advice to a 

louNG Maestro 

By Peter Van Steden 

You will get your share of bad breaks 
and hard knocks. Don't let them dis- 
courage you. They are part of the 
game — a part that makes it worth the 
playing. Success is something that one 
must strive for. If it is too easily 
achieved, it lacks its savor. 

Of course, the first thing you will 
need is a good band. If you can afford 
only three really firs*:-rate men, let them 
be a trumpeter, a saxophone player, and 
a drummer or pianist. You can build 
your orchestra around them. 

But, no matter how fine your musi- 
cians are, you cannot depend upon them 
to make your orchestra a success. The 
real responsibility rests upon the con- 

Peter Van Steden 

THIS is Peter Van Steden himself who has been very successful 
as an orchestra leader with National Broadcasting System. Be- 
cause Radio Digest often receives letters from young men through- 
out the country who are anxious to make a name for themselves 
over the big chains Mr. Van Steden was asked for his opinion. 

ductor. He must have a thorough 
grounding in music, preferably having 
the ability to make his own distinctive 
arrangements. If he is unable to do 
this, it is at least essential that he be 
able to explain his requirements to an 
expert arranger, and to see that his or- 
ders are followed. 

The music should always be complete- 
ly arranged before the rehearsals are 
held, or, if the orchestra has not yet 
reached a point where special arrange- 
ments are required, the orchestrations 
supplied by the publishers should be 
re-routined. By this I mean that you 
should have the selections carefully 
planned, with a few variations in the 
opening and closing passages, to lend 
a flavor of distinction to your work. 

Once you have laid out your musical 
plans in advance, as a general maps out 
a battle, you are ready for the rehear- 
sals. Too many young dance orchestra 
leaders are inclined to skimp on their 
practice hours. Remember that the top- 
notchers rehearse their bands for at 
least six to eight hours a week, and that 
your band needs at least as much prac- 
tice — if not more. 

When it comes to playing in public, 
insist upon your musicians being neatly 
dressed, and, if possible, uniformly. 
They must also look at ease, and only 
rehearsals will enable them to do so. 
As conductor, in addition to doing these 
things, you must use enough showman- 
ship to put over your personality. De- 
velop a pleasant, confident smile, and a 
few characteristic gestures. But don't 
overdo it ; it is not necessary for you to 
toss back your flowing locks, or to jump 
up and down in time to the music. 

Another of your duties as conductor 
is that you devote a great part of your 
free time to study. While you need 
not be a master on any instrument, it is 
essential that you play at least one. say 
the violin or piano. You must be able 
to read music and understand the prob- 
lems of your men. It is also a good 
plan to buy phonograph records of your 
favorite conductors' music, playing 
them over and over again, until you 
find out what techniques they use. The 
chances are against your being able to 
originate a style of your own until after 
you have had years of experience, so 
(Continued on page 46) 


Uncle Dan'l 


iv es . 

By William Ford Manley 

IN the course of a career which has 
pretty nearly covered the most ac- 
tive years of radio's span of life I have 
written I do not know how many pro- 
grams : to try to remember would be 
a little frightening. I have run the 
gamut, from the old Biblical Dramas, 
through melodrama, musical-comedy, 
and wise-cracking farce. Because it is 
the fate of the radio dramatist that, un- 
like the playright for the theatre, he 
cannot always follow his whim or in- 
spiration; What he writes must more 
often fit in with the advertising policy 
of a great industrial corporation; must 
please not only himself and his audi- 
ence, but a board of directors, and their 

But in one program I have followed 
my whim, for better or for worse ; I 
have had no interference ; no pressure 
has been brought to bear ; no line has 
ever been changed, or added. In the 
Snow Village stories on the Socony- 
land Sketches I have no alibi. I have 
done what I wanted to do. 

And I wanted to write the chronicle 
of a New Hampshire village because it 
is the soil from which I came ; they are 
the people I knew best. Why Uncle 
Ban'l still lives, not two miles down 
the road from me ! Time has dealt 
gently with him, as it has with all of 
Snow Village. 

I suppose that is why I like to set 
down their story. There is something 
timeless and eternal in a village which 
in the rush and chaos of 1932 still pre- 
serves within its quiet boundaries the 
slow moving pace of the last century. 
It has few houses, but how they have 
resisted the encroachment of the years ! 
New York has leapt skyward in turrets 
of steel ; to the west cities have been 
born on the empty prairie, and where 
fifty years ago there was nothing but 
a huddled collection of clingy shacks 
you can now find a Chamber of Com- 
merce, a Radio Station, and an Art 
Museum. And in all that time Snow 
Village has seen two or three houses 
burn down, two or three houses built: 
and a Rip van Winkle, coming down 
to the village from a fifty years' sleep 

on Foss Mountain would see no par- 
ticular change in the sleepy little vil- 
lage street. 

A restless people, we cling to the 
few things in life that do not change ; 
and I imagine that is why I love Snow 
Village, and hope they never lay con- 
crete between the elms on its only 

Is there a Snow Village, an ac- 
tual place on the map ? There is. 
They call it Snowville now, in defer- 
ence to the United States Post Office's 
demand that the village name be one 
word for convenience and efficiency's 
sake. (How much I wonder did it cost 
the tax-payers to support that particular 
efficiency expert at Washington whose 
function was a ruthless assault on a 
name revered and mellowed by time?) 

uO if you set forth to 
find Uncle DanTs home, you will have 
to look for Snowville. You will find 
it, looking as it has for a hundred 
years, on the edge of the White 
Mountains, in the township of Eaton, 
halfway up the State of New Hamp- 
shire, almost on the Maine border. 
And if you are not able to get there 
for another fifty years, I am sure it 
will still be there, and still unchanged, 
a back-eddy and a refuge in the re- 
morseless sweep of time. 

The actual writing of a Snow Vil- 
lage story is a matter of some excite- 
ment to me, and sometimes it is ex- 
citement that becomes apprehension. 
Sometimes they leap to mind full 
formed, with a beginning, a middle, and 
an end, and the work begun at morning 
on my ancient typewriter is finished 
by night. At other times they have the 
elusiveness of a half remembered 
phrase; by evening there is nothing on 
paper but a dozen false starts, and a 
hopeless feeling that the Mss. is due on 
Monday. Because we people in radio 
are always writing against time, like the 
columnists in the newspaper. And the 
Snow Village stories are material that 
refuses to be rushed. 

Fortunately for me there is no great 

"I swan, Dan'l if ever I saw a saw as 

this saw saws!" says Old Neville to 

Uncle Dan'l. 

rush. For the last three years I have 
never done more than two in any one 
month, a tremendous contrast to the 
pace necessary when turning out a five- 
a-week program ! I am thus able to 
let ideas lie fallow, until they are ready 
to be written, until some little incident 
that I remember, or some character, as- 
sumes proportion and dramatic meaning. 

I mentioned above certain disadvan- 
tages of the radio dramatist, as com- 
pared to the playright for the theatre. 
But there is one important item which 
is vastly to the advantage of the radio- 
writer, (aside from the all important 
fact that he knows he is going to get 
paid for what he writes ! ) and that is 
the advantage of knowing with a thor- 
oughness difficult in the theatre the men 
who are going to act his manuscript and 
give it life and meaning. In the thea- 
tre a play is written, and the author 
waits and worries, hoping with an un- 
certain hope that most of the important 
parts will be properly cast. In the 
Snow Village stories I know they are 
going to be cast right, because Arthur 
Allen and Parker Fennelly are Uncle 
Dan'l and Old Neville, and vice versa. 
The dependence of writer on actor and 
actor on writer works both ways ; but 
although I can conceive of Snow Vil- 
lage stories written by some other hand, 
I cannot conceive of any other two 
actors who would give such life and 
vitality to what is after all merely 30 
odd pages of manuscript paper with 
some 5000 words on them. 

But I hope I keep on writing Snow 
Village stories, while the impulse and 
memories are still fresh. In the hetero- 
genous and somewhat frenzied life of a 
radio writer they have been for me a 
quiet spot and a refuge. 


Just Qabbifi zAbout 


By Hilda Cole 

Tommy McLaughlin, the smiling tenor 
heard on both big chain programs. 

I KNEW the minute that Tommy Mc- 
Laughlin looked down at me with 
those roguish Irish eyes he had the 
makings of a story in the background 
of his life. He's the shining star in 
the baritone sector of the CBS radio 
heaven just now. There's impish devil- 
ment in his manner, and a good looking 
boy with that kind of a disposition is 
born to adventure — and adventure is 
what makes life thrilling. Almost with- 
out thinking I asked him when he had 
begun singing with that wonderful bari- 
tone voice. 

"When did I first sing baritone ?" he 
repeated my question, "Why 'twas the 
very moment that I quit singin' so- 
prano. Aye, the very second it was, 
Miss Cole, for I was eleven years old 
and warbling away like a little bird 
before the school when suddenly in the 
midst of 'Silent Night' the silvery 
coloratura of the wee lad cracked and 
vanished forever and in larrups the 
baritone which, God grant, will stay 
with me until I have no further use for 
a voice at all. It's a strange fact that a 
lad of eleven should have that change 
in his voice, but that was my own ex- 

It was on the morning of September 
11, 1909, that the young Tommy Mc- 
Laughlin vociferously announced his 
arrival in this vale of tears. The place 
was Los Angeles ; but his mother came 
from Donegal in Ireland, and his fa- 
ther from Belfast. 

"And did your parents sing?" I asked 
the smiling Mr. McLaughlin. 

"Neither one of them could so much 
as carry a note in a basket," he replied. 
"But my mother had the rhythm of mu- 
sic in her soul, and the five of us chil- 
dren all could sing fairly well. I am 
the only one who carried it through 
professionally. The rest had better 

There's a legend in the McLaughlin 
family that Tommy at the age of three 
had a repertoire of three songs which 
he did surprisingly well for one so 
young. The favorite was, "You Got 
To Quit Kickin' My Dog Around." 
The others were : "Trail of the Lone- 
some Pine," and "When It's Apple 
Blossom Time in Normandy." 

Tommy's mischief manifested itself 
early as he attended the parochial school 
in Los Angeles. His older brothers in 
graduating from the same school had 
carried away the coveted prize for elo- 
cution. Tommy had a reputation to 
sustain. They couldn't resist giving 
him the prize when he chose for his 
rendition "Guilty," which starts off 
"Yes, I'm guilty. ..." 

Then there is the time that Tommy, 
still very young, borrowed the family 
car without the formality of paternal 
permission. The car went much faster 
than he intended it should, and he found 
himself at school with a ticket in his 
pocket. Came time for his appearance 
in juvenile court and the necessity of 
obtaining leave from his classes. He 
had to hurry to keep his appointment 
with the judge, and borrowed a car to 
get there. By the time he arrived he 
had two tickets to dispose of. By lib- 
eral use of his glib Irish tongue he 
escaped punishment in both cases. 

His early acquisition of a baritone 
voice earned him a billing at KFI, Los 
Angeles, as "The World's Youngest 
Baritone." He studied baritone, attend- 
ing concerts wherever possible and by 
the use of records of eminent singers. 
At fifteen he sang at the Pacific Coast 
Radio Show for his first professional 

appearance. His selection was "Torea- 
dor." He was a sensation. 

The family moved to Detroit in 1926, 
and he therefore enrolled at Univer- 
sity of Detroit. The students presented 
a show, staged and directed by John 
Harwood and Max Scheck, of Broad- 
way, in which Tommy had an outstand- 
ing part. 

Thereafter, he renewed radio connec- 
tions and not only sang but did some 
announcing at both WMBC and WJR. 
He studied for a short period with 
Irene Bonstelle, known to many stars 
of stage and screen as "Bonny." 

A serious illness interrupted his work, 
and after a great struggle in which he 
finally regained his health, he came to 
New York to search for a suitable 
teacher. He found one in William 
Whitney, who suggested that he take a 
complete course at the New England 
Conservatory. Tommy assented, and 
his profession was determined then and 
there. While a student, he gave many 
concerts, sang for both President 
Coolidge and President Hoover, and 
made a tour of New England Colleges. 
Having completed his course, Tommy 
sang with Vincent Lopez in New York 
and accompanied him on tour. Return- 
ing, he joined Major Bowes at the Cap- 
itol Theatre. After an appearance at 
Roxy's, lie learned of the sudden death 
of his favorite brother, and returned to 
Detroit to sing his Requiem. This was 
naturally a disheartening experience, 
for he had idolized this older brother 
since childhood. Returning to New- 
York he busied himself with musical 

A short time ago, Jim Doan became 
his manager and obtained for him an 
audition at Columbia Broadcasting Sys- 
tem, WABC. He made good and is 
now featured in "Threads of Happi- 
ness" each Tuesday night. 

Tommy McLaughlin is grey-eyed, 
good looking and, girls, he's a bach- 


Tuneful Topics 

By Rudy Vallee 

LS A DIME. It has not been my 
J^M good fortune yet to be able 
to see "Americana." This is 
Mr. McEvoy's, (in conjunction with 
the Shubert Brothers) third and most 
successful attempt at producing a 
musical revue. His first two "Ameri- 
canas", even after the pulmotor of 
other money and complete rivision 
were applied, did not seem to survive, 
but this one has a good chance of 
surviving, at least for a short run, and 
let us hope, longer ! 

This is due in no small measure to 
the staging in the second half of the 
show, with a masterful scene around 
a more masterful song, BROTHER 
Messrs. E. Y. Harburg and Jay Gor- 
ney. It is a composition which at 
first would seem to be out of place in 
these times, and I would have doubt- 
ed that anyone would dare sing it. 
However, this is only another case 
that proves the time-worn statement 
that one cannot predict absolutely 
what Mr. and Miss Public will "go 

In these days of millions of unem- 
ployed actually "standing in line beg- 
ging for bread," it would seem al- 
most a sacrilege to write a song about 
it, and then to sing it in a revue 
where people sit in comfortable seats, 
in most cases after having enjoyed a 
delicious repast, warm, snug, and 
completely relaxed, when out on the 
streets, not so many blocks from the 
theatre, there is actually a bread line, 
with none of its individuals singing a 
song about their condition. 

I understand that Rex Weber, who 
sings it in the show, is a ventriloquist 
in other parts of the performance, 
and an excellent one. This is his first 
real break in a revue, having been in 
vaudeville all his life. It reads like 
the usual burlesque type of story, 
where the vaudevillian family realizes 
his life's dream. They say that Mr. 
Weber makes the most of it. He 
steps out of the breadline and sings 
a song which tells of the glorious 
things he did in the past, building a 
railroad and a tower, and his services 
in France, and now he is like the poor 
maniac in the insane asylum, who 
imagines he is Rockefeller, more than 
content with a paltry ten cent piece. 

The melody fits the thought as 
though it were tailored to it, as I 
imagine it was. Yours truly has had 

the audacity to record the song; I 
listened to our Columbia record of it 
last night, and although I felt I was 
stepping a bit out of character, the 
recording company feels that I have 
done justice to the recording; let us 
hope so. 

The number is published by Harms, 
and should be played majestically and 
yet brightly. 

7| yt AORI. Here is a tune that is a 
J V J. keen delight to play and dis- 
cuss. Another one of those tunes 
that has lasted down the years, prov- 
ing it must have something. It was 
written by Harold Creamer and Wil- 
liam Tyers, both colored, who wrote 
it as a tango back in 1915-1916. The 
tune is about a dusky maiden named 
Maori, from the tropical isles, and it 
has all the atmosphere of its name 
and locale. Why they wrote it as a 
tango I do not know, because as a 
tango it is a most uninteresting and 
colorless composition; and by the 
same token just why Edward Witt- 
stein, an orchestra leader in New 
Haven, Connecticut, who has sup- 
plied the Yale proms with his own 
thirty-piece orchestra for the last 
twenty-odd years, as well as furnish- 
ing fine dance music for most of the 
country clubs and exclusive girls' and 
boys' schools of New England for 
that same period of time, should have 
felt the urge to change MAORI so 
completely, yet keeping its original 
idea, is a mystery. Nevertheless he 
did rewrite the composition, stretched 
it out and made it almost twice as 
long, and a composition which, to my 
way of thinking, is grand dance mu- 

While Mrs. Vallee and I were en- 
joying Buddy Rogers' music at the 
Pennsylvania Grill, Buddy played a 
tune which, according to Fay, was 
one that Gus Arnheim, of the Cocoa- 
nut Grove in California, always 
played when holding dance contests, 
as he so often used to do at tea 
dances for the young folks of Holly- 
wood. Fay was in ecstasies about 
this piece, written by Joe Gold, for- 
merly of Lopez' band, a tune called 
"Egyptian Shimmy." It is very much 
on the same order of MAORI, build- 
ing like a maelstrom, chromatic, up, 
up, up in tempo and volume, repeat- 
ing, repeating, using the same idea as 
the "Bolero." 

Remembering MAORI as it used 

to be played in New Haven by bands 
that had learned it from Wittstein, I 
immediately told Fay that on our 
next broadcast I would program a 
tune which would put "Egyptian 
Shimmy" to shame. Cliff Burwell 
and I immediately got busy and ar- 
ranged Wittstein's tune in a way to 
bring it out in all its value. We seem 
to have succeeded, judging from the 
many complimentary letters received 
after its first two presentations. Per- 
haps the greatest compliment of all is 
Mrs. Vallee's honest criticism that it 
is the best thing she has heard of its 
type, although my enemies will be 
sure to say that she is "stooging" me. 
Tune in and judge for yourself some 
time if you catch us playing it. 

Mills Music, Inc., has the old tango 
copy as originally written, and of late 
it has been recorded by several bands 
in Marimba style and tango style. I 
predict that eventually our idea, based 
on that of Wittstein's revision, will 
make it a dance tune that dance lov- 
ers will come to know and like. 

JL J. I'm reminded of those smart 
alecks along Tin Pan Alley and Broad- 
way; the type that Mr. Winchell re- 
ferred to, when he said "He pats you 
on the back while feeling for a spot 
to plant the knife," that type of per- 
son that seems so anxious for every- 
thing to come to an end, the type of 
person who seems to be unhappy that 
anything unusually successful should 
continue, but thinks it is a foreor- 
dained conclusion that what goes up 
must come down quickly. I often 
wonder how that person feels about 
the continued success of Mr. Kreisler, 
Mr. Paderewski, Mr. Toscanini, Miss 
Sophie Tucker, Al Jolson, John Mc- 
Cormack, Eddie Cantor, Harry Rich- 
man, and many others who have gone 
on through the last eight or ten years, 
still in the big money and doing ex- 

Such a person had Mr. Irving Ber- 
lin already in the class of has-beens 
because Mr. Berlin has either not 
really so desired, or, possibly due to 
lack of concentration, has not had 
any terrific outstanding hits in the 
past year or so. His "Face The Mu- 
sic" score was excellent, though noth- 
ing in it could have been called a real 
popular hit. Here he comes along 
with not only one smash hit, but 
two! SAY IT ISN'T SO we dis- 
cussed in last month's column. It 
has exceeded their fondest expecta- 
tions, and I must admit that it even 
surprised me, as I predicted at the 
time of being asked for my opinion 
by the publishers, that owing to its 
unhappy strain and what seemed un- 
usual range at the time, that it might 
be played and sung a great deal, but 
that few sheet copies would be pur- 

chased. It has been the best seller 
Berlin has had in a long time, even 
outselling "Lullaby of the Leaves!" 
Which goes to show how easily, as 
the columnists would say, "Your 
humble scribe" can be wrong! 

unquestionably, aside from its musi- 
cal value, a lovely poem. Certainly 
Berlin was touched by the Muse in 
writing this one. A study of the lyr- 
ics convinces one that Berlin is a 
poet, and this time the beauty of his 
poetry is equal to that of any of the 
poetry I studied in college ! The me- 
lodic counterpart is one of his best. 
That the song has attained the popu- 
larity it has reached in this short time 
is not to be wondered at. 

There are those who will point out 
that he did himself harm by writing 
the two songs at the same time — that 
they buck each other. Personally I 
fail to see this viewpoint, as to my 
way of thinking, if people enjoy two 
songs, they will purchase both, unless 
of course they should be so limited 
that the cost of both would be impos- 

Surely by this time every reader of 
Radio Digest has heard the song, 
and there is no need of a further 
"rave" on my part. Its construction 
is nearly all whole notes and quarter 
notes. We play it quite brightly as I 
believe it suffers if played too slowly. 
Berlin, Inc., are the publishers. 




away any awkwardness that might 
otherwise have been there as he in- 
troduces the song. Eddie Lang, his 
famous guitarist, who accompanied 
him to the Coast, sits, back to the 
camera, playing the guitar as only he 
can play it, and lending the inspira- 
tion to Mr. Crosby for the proper 
rendition of the number. Its reprise 
at the end of the picture does not 
hurt any, and I found myself, along 
with others of the audience, hum- 
ming it as we left the theatre. 

It is a chopped-up thing, going 
from a high B down to a low B. Quite 
uniquely, in our recording of it last 
week on a new Columbia record, our 
own guitarist was unable to be with 
us, and Mr. Lang recorded it with us, 
which probably made him feel very 
much at home. 

We play the number about one 
minute to the chorus, and it is pub- 
lished by Famous Music, Inc. 

AGAIN. A waltz by Mr. Isham 
Jones and Charles Newman. Mr. 

Newman, whom I had the pleasure of 
meeting yesterday, appears to be a 
very genial Chicagoan, quite unlike 
the typical songwriter, and yet a fel- 
low who has demonstrated an unus- 
ual ability to write lyrics ; at least. I 
assume that he did the lyrical job. as 
Mr. Jones has always been best me- 
lodically speaking. 

Here is a waltz of the chopped-up 
type of melody, which is sure to be 
popular in the public ballrooms, 
which seems to be about the only 
place where waltzes are played these 
days. Why the bands that play in 
our elite type of places, the exclusive 
roofs and grills of New York, feel 
that the public would not enjoy danc- 
ing to a waltz is more than I can im- 
agine. Some of our best receptive ap- 
plause was after the playing of waltzes 
at the Penn Grill. Personally T know 
that music in 3/4 time is extremely 
popular with all ages and types of 
people, and I am always looking for 
the finer type of waltz. This is a 
good one, witli the usual story. 
though it is reallv told in excellent 


fashion, a summary of the story being 
that if the lover could wake up and 
find his fair one's arms entwined 
around him, and her kisses on his 
lips, he would not have to continue a 
dreamer. Feists are the lucky pub- 
lishers, and I think the song should 
be played as a slow waltz. 

(_7 MOON. DeSylva, Brown and 
Henderson are the proud publishers 
LEM MOON. I understand that one 
of the finest renditions of this num- 
ber is that of George Olsen's very 
lovely wife, Ethel Shutta. I have not 
heard her rendition myself, but 
enough people have commented to 
me on her outstanding performance 
of this particular song, and there 
must be something really fine about 
the way she does it. 

Several weeks ago we had a young 
colored lady on our program, and if 
time had permitted, she would have 
LEM MOON. That was my first 
opportunity to hear this much talked 
of song; I have also heard a very fine 
record by the capable Calloway, in 
which he hi-de-hi's and ho-de-ho's all 
over the place ! It seems to me that 
that type of song would be especially 
adapted to his type of performance. 
Although I have done "Minnie the 
Moocher" myself, and according to 
some people fairly creditably, I some- 
times feel that I am a bit out of char- 
acter singing such a number unless 
it is of the soothing type. My recol- 
lection of UNDERNEATH THE 
HARLEM MOON is that it is a 
stimulating coon-shouting type of 
song, best fitted to the great Callo- 
way, so unless enough requests come 
for yours truly to do it, I will leave 
it to a young man whose work in that 
direction in unparalleled. To my way 
of thinking it should be done in typi- 
cal stomp blues manner. Not too 
brightly and not too slowly, but in a 
steady four beat rhythm. Such a 
chorus usually takes about fifty sec- 
onds of one minute. 

I am a little alarmed at the craze 
for negro songs and the negro style 
which seems to be sweeping the 
country. While I believe the style is 
refreshingly different and extremely 
full of life, yet I would like to feel 
that the happy medium is always to 
be preferred, even in appreciation of 
popular songs. As a program balanc- 
er, I believe that the show type of 
music, the comic popular type of 
music, the beautiful and serious type 
of popular music, combined with the 
coon-shouting type, should all be 
blended in equal proportions. How- 
ever, no one can lead the public to 
water, and the public will decide what 
it wants. At the present tinre it cer- 

tainly indicates a decided liking for 
the styles of Louis Armstrong, the 
Boswell Sisters, Mr. Calloway, Mil- 
dred Bailey, and others, who are un- 
questionably influenced by the res- 
onant, lazy, dreamy, yet exhilarating 
and exultant style which seems to be 
typical of the negro. 

/'LL FOLLOW YOU. One of the 
better popular songs of the month 
from the pens of Messrs. Turk and 
Ahlert, who evidently have been free- 
lancing as all the publishers seem to 
have something written by these two 
boys. I was rather surprised to find 
them writing with other writers ; that is 
cause for wonderment, and perhaps 
some misgivings, as it is always fine 
to see a team turning out hit material 
and always writing together. I was 
very surprised and somewhat unhap- 
py to see the team of Ager and Yel- 
len break up. I really believe that 
when two men each with a flair for 
songwriting get together, they should, 
unless they fail to produce anything 
outstanding, remain together. Two 
boys from Park Avenue, who have 
written such excellent operetta mu- 
sic, and only lately the music for the 
great Chevalier picture, "Love Me 
Tonight," Messrs. Rodgers and Hart, 
are another successful team. 

However, I believe Roy Turk and 
Fred Ahlert will always write the 
most of their music together, as they 
have shown over their past record 
the ability to get something really 

While ELL FOLLOW YOU lyric 
seems to be patterned on another 
song which was a terrific hit, "If I 
Had You," in its vow to cross the 
desert or over the snowcapped Hima- 
layas, its melody, which I believe is 
written by Ahlert, is one which comes 
back hauntingly to the mind. Its in- 
tervals are spaced in such a way as to 
make the beginning of the melody the 
attractive part of the composition. 
With the Robbins organization be- 
hind it, you can't help' but hear con- 
siderable of it. We play it quite slow- 
ly, taking about one minute to the 
chorus, and it is published by Jack 
Robbins, Inc. 

/ more and day by day are music 
publishers beginning to realize that 
their tremendous organizations in the 
days when sheet music and records 
were big sellers, must go. I say this 
with profound regret as those were 
the real days of the music profession, 
when copies sold into the millions, 
and records into many millions ! 
Then it was that Feist, Berlin, and all 
the big houses had an organization 
which read like the roster of the 
Crane Co., or the Eastman Kodak 
Co., with big representatives in every 

city, staffs of some two or three hun- 
dred employees; a weekly cost of 
such an organization used to run into 
hundreds of thousands of dollars. 
Now it would appear with the new 
radio set-up that a small office and a 
small staff are quite as satisfactory. 
That brings such small publishers as 
Phil Kornheiser, who directed the 
big firm of Feist for so many years, 
almost on a par with the big firms 
which were. 

Phil was one of the shrewdist pick- 
ers of songs that ever directed the 
affairs of Leo Feist, Inc. I will be 
extremely happy when he secures 
that much needed and much to be 
desired hit, because since his incor- 
poration with his own firm he has 
had many fine songs, though no out- 
standing hit. 

Now he has "THE LANGUAGE 
OF LOVE" an excellent song, the 
melody quite reminiscent of "O Mr. 
Dooley." Enric Madriguera, of 
whom I have spoken in conjunction 
with "Adios," and who seems to have 
teamed himself up with a New Eng- 
land Yankee, peculiarly enough, one 
George Brown, who has unquestion- 
ably lyric writing ability— this same 
Enric Madriguera has written a mel- 
ody that is really fine. Whether or 
not he realizes that his opening strain 
is just a slight bit like "O Mr. Doo- 
ley's" opening is unimportant. He 
has carried out the song from the 
first to the 32nd measure in expert 
fashion. And George Brown, in an 
attempt to give me a novelty song 
along the lines of "Let's Do It," has 
given me a lyric which, though typi- 
cal and music in the style of a trav- 
elogue, is a dandy. 

Mr. Kornheiser was doubtful 
whether the song as constructed 
would please orchestra leaders, and is 
having revised, with a bit more of 
romance thrown in. He has a feel- 
ing that lyrics such as "From Zanzi- 
bar, to Panama, to old New York" 
are a bit too much like a Cook's tour 
listing. What I suggest is that he 
keep it at least as a second chorus, 
because I personally enjoy a song 
that is not over-romantic, and I be- 
lieve the boys have done an excellent 
job of the thing. At least, when I 
reprised it last week on the Fleisch- 
mann's Yeast Hour, everybody in the 
studio, and your humble servant in- 
cluded, found the melody haunting, 
and haunting and haunting me for 
days afterward. I know Phil would 
be happily surprised to see the song 
attain hit proportions, and I think he 
will get that hit yet. 

quite slowly, yet not too slowly. 

day I had my first demonstra- 
tion of one of his own compositions 

by one of Tin Pan Alley's oldest, 
greatest, and most respected song- 
writers, Joe Young. With the same 
Young Lady who collaborated with 
him in the writing of "Lullaby of the 
Leaves," Joe has written a new song 
called MY RIVER HOME. 

Seated in Irving Berlin's private 
office, near his famous piano with the 
shifting keyboard, which gives him 
the various keys by a mere twist of a 
handle, Max Winslow, Irving Berlin's 
mentor and guide in his early strug- 
gles, on my left, and several other 
executives of the Berlin firm on my 
right, Dave Dreyer at the piano, him- 
self composer of "Back In Your Own 
Backyard," "Songs For Sale," and 
many other tunes, I listened to the 
newest Berlin catalogue. Irving him- 
self dropped in to listen to some of 
the songs as he had just returned 
from Europe, and of course is keenly 
interested in the doings of his firm. 
There is an air of happiness about 
Irving which unquestionably has 
come from his two recent smash 
hits, "Say It Isn't So" and "How 
Deep Is The Ocean." 

But the surprise for me was the 
unique demonstration, vocally speak- 
ing, by Joe Young. I had always 
thought of Joe Young as strictly a 
writer, an executive of the American 
Society of Composers, Authors and 
Publishers, and, as I have said many 
times before in these pages, the Sam- 
uel Johnson of the noon time Kaffe 
Kloches at Lindy's, but I had never 
thought of him quite in the light of a 
vocalist. He possesses what probably 
15 years ago was called a typical 
Broadway type of voice, a vibrato 
style of singing, persuasive move- 
ments of the body (which heighten 
the rhythmic value of the song) all 
of those things so typical of the aver- 
age demonstration of a popular song 
by the true dyed-in-the-wool deni- 
zens of Broadway's song sections. 

Joe stood at the piano, and sang 
the songs with all the gusto at his 
command. Broadway songwriters 
have an uncomfortable way of fixing 
their eyes on their prospective listen- 
er or victim, which usually, at the 
end of the rendition of the song, 
leaves said listener very embarrassed 
as the triumphant air of complete 
conquest and of work well done, 
which is expressed in their complete 
make-up makes it very difficult for 
one to render other than a satisfac- 
tory opinion of the song. I suppose 
that is rather akin to the gesture that 
Holson makes at the end of one of 
his great building effects, when he 
stamps his left foot forward, with 
both hands outstretched, somewhat 
in the manner of the acrobats at the 
finish of one of their unusually skill- 
ful performances. The act seems to 
say, "There, now, give me that ap- 

plause !" 

Joe has so much volume the walls 
shook, and it was necessary at times 
for Max Winslow to restrain his 
robust vocalization. But one thing 
I must say, Joe certainly knows how 
to "sell" his songs, and even if "My 
River Home" has no value in itself, 
Joe would have made me believe that 
it had. 

Both Bernice Petkere, with whom 
he wrote "Lullaby of the Leaves," 
and Joe himself, have tried to incor- 
porate in this song some of the idea 
of the same construction of "Lullaby 
of the Leaves." My humble opinion is 
that the song, while not another 
"Lullaby of the Leaves," will be a 
very popular one, with those who are 
constantly looking for something a 
little bit different, something out of 
the ordinary. The story is the same 
as in "Lullaby of the Leaves" — the 
Southern boy or girl in the big town 
up North, sighing for the shores of 
the Mississippi, where the steamers, 
the darkies, the cotton, the light 
through the pines, all seem to be call- 
ing the straying one home. It is a 
mighty good song and I sincerely 
hope that Joe's terrific vocal efforts 
on that afternoon, and I suppose on 
succeeding afternoons for all those 
who likewise must be convinced of 
the merits of his song, will not have 
been in vain. We would play the 
song quite slowly. 

LEARNED. This evening on our 
Fleischmann program we have a spot 
of two excellent songs, I'M SURE 
The former is by Charles O'Flynn, 
George Meyer and Pete Wendling, 
and it should be a hit on the strength 
of the writers' names alone. Wendling 
has been writing songs for ages ; in 
fact, one always thinks of Wendling 
when he thinks of Walter Donaldson, 
as they have both been writing hit 
songs for some time. 

With O'Flynn Wendling wrote 
"Swingin' In A Hammock," which 
to me is one of their outstanding con- 
tributions. George Meyer is one of 
the pillars of Tin Pan Alley, and the 
boys have a very unusual song. 

Unquestionably they have been in- 
fluenced by the terrific success of 
Harry Woods' "We Just Couldn't 
Say Goodbye," only this time the dog 
and the cat are comparable to the 
clock on the shelf in the middle of 
the "We Just Couldn't Say Goodbye" 
song. This same dog and cat in this 
case "don't know where they're at, 
they're yearning for your company, 
and the cat bow-wows, and the little 
dog meows, without you Pet they're 
all upset the same as me." A com- 

parison of the middle parts of these 
two songs would show that the boy. 
realize the value of these homely 
similes to bring home to the listener 
just the feelings and atmosphere of 
everyone concerned at the moment. 

The song, musically, is a dandy, 
very rhythmic, and one that the Lom- 
bardos will seize upon and play with 
glee, and as I look it over now, the 
phrase, "There's welcome on the 
doorway, and 'Home Sweet Home' 
upon the wall," I am more than ever 
convinced that the boys have accepted 
Harry Woods' method of expression 
as one that must inevitably lead to 
success in this type of song. Keit 
Engle are the publishers, and what 
with "We Just Couldn't Say Good- 
bye" a Keit Engle song, this looks 
as though it might be a really good 
follow-up, though I doubt whether it 
will achieve the outstanding heights 
of its predecessor. Rarely does a 
junior type of song reach the same 
step of success that the pioneer in- 
evitably does. 

A song built to order for Mr. 
Crosby ! I am trying to recall whom 
I first heard do it, and I believe it 
was Bing, though just how he could 
have done it is more than I can 
fathom, as I have not heard him on 
the air, nor has anyone for that mat- 
ter, as he has been out on the Coast 
making that excellent picture, "The 
Big Broadcast." Somehow, however, 
as I humbly sing the song, I feel that 
I am treading on hallowed ground, 
and that a song of it's type really be- 
longs to Bing. At least I am sure 
he will do more than justice to it 
when he gets to it. 

There is little to say about it ex- 
cept that it has a haunting type of 
melody, and an unusual type of 
phrase which is reprised enough 
times throughout the length of the 
song to bring it home to the listener. 

DeSylva, Brown and Henderson 
are publishing it, and we play both of 
these tunes at about one minute to 
the chorus. 


Jtlerrp Cfjrtetma* 

For the whole year by 
subscribing to 

Radio Digest 

Subscribe for a gift 


Broadcasting from 

The Editor's Chair 

CHRISTMAS holidays and Christmas music soon 
will be flooding the earth with peace and good 
will toward all. For some the radio will bring 
a sense of comfort, cheer, and a feeling that it's not 
such a wicked old world after all. To others it will 
bring memories of days that have gone, never to return 
again, broken families, distant loved ones, and an over- 
whelming sense of loneliness. For these Radio Digest 
suggests a plan by which radio may be used to link the 
distant hearthstones. Let the separated families consult 
the Christmas programs of certain of the chain stations. 
Then, by previous correspondence or telegrams, plan 
for all to listen to the same program at the same time. 
The voices and music over the air will bridge the gap, 
thoughts may commune, and some little compensation 
may thus be gained for the miles of distance that stretch 

IT MAY seem a little late to discuss elements of the 
recent presidential campaign, but it is worth while to 
note that never before have the issues been so thorough- 
ly placed before the voters en masse. Some professed 
to be bored by the flow of oratory, but those who know 
will tell you that the greatest radio audiences of the 
year were the ones who listened to the speeches by the 
presidential candidates. It is hard to tell, however, 
whether the average listener was greatly influenced by 
what he heard; whether he was swayed more by the 
thought of beer, or economic problems. Judging from 
the demonstrations in the theatres which showed sound 
pictures of the candidates making their campaign talks 
it would seem that beer raised the loudest clamor. Just 
as the experienced broadcasters have often pointed out, 
the radio listener is not greatly interested in deep and 
perplexing problems. He wants, in the main, to be en- 
tertained. And that is why there seems to be such a 
divergence of opinion as to how radio can be utilized 
to carry on educational features. 

engineer of the British Broadcasting Company, in 
an interview with an American newspaper man upon 
his return from a trip around the world studying broad- 
casting in all countries, declared : "I have become an 
enthusiastic convert to the American idea, which as 
nearly approaches the ideal as I have encountered in 
my travels. I do not hesitate to say that the American 
programs are the most amusing, most varied, most in- 
teresting, the most diverting and the most educational 
of all. While the rest of the world has been practically 
at a standstill, America with characteristic foresight and 
action has pushed ahead, building up here, tearing down 
there, until they have achieved an approach to perfec- 
tion which is a revelation and an inspiration." 

For those who have endeavored to make a political 
football of the educational phases of radio Captain 
Eckersley's comment is an effective answer. Sad 
satirical writers have elaborated on the superiority of 
the English system of broadcasting; others who use 
the networks when they can get a chance have waxed 
oratorical over the pitiful state of affairs in which 
"American broadcasting has gone to weeds." Oh that 
they could scissor out just 15 per cent of the ninety-six 
available wave-lengths allotted to this country with 

which to set up a bureau in 
Washington and use those wave- 
lengths to carry education pure 
and simple into every home! 

No doubt many of those who 
advocate this plan are really sin- 
cere and think it feasible, but 
they are largely in the hands of 
schemers who really know that, 
as an engineering feat, the plans they contemplate are 
impossible. They should know, as a psychological fact, 
you cannot purvey education in the schoolroom academic 
manner over the radio. Captain Eckersley is right when 
he says : 

"I don't think you can teach people over the radio that 
twice one is two or that twice two is four. It simply 
doesn't work ; they don't take it. I think the service only 
to be intrinsically educative. People want to hear some- 
thing new, I believe." 

Professional educators, unless they are familiar with the 
business of broadcast entertainment, should as a rule 
serve radio mainly as consultant experts, not as admin- 
istrators. The broadcaster himself must go through a 
certain curriculum of training to know how to sell his 
program to the listener. He must know the art of appeal 
that holds the dial in the home on the spot he has 

For example one of the most successful organizations 
to engage in the educational phase of broadcasting is the 
National Advisory Council on Radio in Education, which 
for one line of achievement recently inaugurated a series, 
of Saturday night programs under the general head "The 
Economic World Today." The program comes from 
8:30 to 9:30 — the very best period of the day — and goes 
to 45 stations over the NBC-WEAF hook-up. This or- 
ganization has assisted in many other programs over 
both the major networks. "Great Moments in History" 
and "Roses and Drums," the former on NBC and the 
latter CBS are dramatized incidents of history and both 
have commerical sponsors. These programs hold young 
and old alike in the interest they create, and there is 
satisfaction on the part of the listener in knowing that 
the incident is based on fact. "The March of Time," is 
dramatization of current history over the Columbia net- 
work. These are worthy examples of what can be done 
in extending education by radio. 

JUST twelve years ago, KDKA the first regular broad- 
casting station in the world sent out its first program. 
A recent survey by R. G. Dun & Co. shows that today 
approximately $1,800,000,000 is invested in the radio in- 
dustry in the United States. This investment is divided 
as follows: $150,000,000 in radio manufacture; $25,000,- 
000 in broadcasting facilities; $25,000,000 in commercial 
radio stations, and $1,600,000,000 in receiving sets. Frank 
Arnold, in his book, "Broadcasting Advertising" esti- 
mates that the total amount of money paid out for sets 
during the twelve years of broadcasting has been $3,500,- 
000,000. The gross receipts for American broadcasting 
stations last year was $77,758,048. The revenues of the 
two major companies rose from $10,252,497 in the year 
1928 to $37,517,383 in 1931. 

In a recent report on broadcasting published in "The 
Index" of the The New York Trust Company this state- 
ment is made : 

"No other industry in the history of the United States 
has developed so rapidly as the radio broadcasting indus- 
try. . . . Few realized, twelve years ago, the tremendous 
possibilities of broadcasting or the enormous market that 
would develop for receiving sets, the manufacture of 
which has necessitated the employment of millions of 
dollars and thousands of men." 

And it's still an infant industry. RAY BILL. 


L / J 

Audrey Marsh 

THIS charming young singer is the latest radio sweetheart of 
Lanny Ross on the Maxwell House Showboat. The program 
is one of the most elaborately staged variety shows of the year, and 
is typical of the modern trend. Miss Marsh replaced Mabel Jackson 
who was on the program for the first few presentations. Miss Marsh 
has been identified with broadcasting several seasons. 



I HAVE a stack of Radio Digests on 
my radio. It is my radio library. I 
have a sign up over them reading : "No 
Radio Digests Loaned to No One No 
Time No How." It is my radio library 
and reference book. I want the Septem- 
ber number. How can I get one? (Sept. 
and Oct. zcere combined.) 

Here is something else : First, let me 
tell you that I have been in printing and 
publishing for forty-two . years. Instead 
of cutting down the size and the price, 
could you not maintain the old standard 
by increasing the price? Personally, I 
would prefer to pay fifty cents per copy, 
and have it as it was. Sometime back it 
was thirty-five cents, then twenty-five 
cents, and when you cut to fifteen cents 
you cut the size. I would not have 
minded that so much, if you had cut off 
Rudy Vallee, but he still has his grin in 
every issue. I suppose you must do that 
for the benefit of the kitchen mechanics. 
Of course, you know better than I do 
where you are selling your magazine. 
But, still, I cannot help but feel that you 
will develop just the constituency that 
your paper calls for. However, I get 
it because you have a lot of valuable in- 
formation, outside of the hams. 

Personally, I am interested in people 
like Rubinoff and his violin, Irma Glen 
and her organ, and people like that. 
Even enjoy some of the jazz hounds. 

Read this letter again, tell me about 
the September issue, and think over the 
rest. I have had practical experience 
enough to authorize me to talk, and I 
believe that your magazine can go over 
with an increased price. Of course, you 
have cut down to fifteen cents now, and 
that makes it worse. The price should 
have been increased before the cut in size 
was made. 

Thanks for that picture of Irma Glen 
in October. I must coax her for one of 
them. And give some Rubinoff. — Billie 
Moore, 10 Second St., South, St. Charles, 


THE October issue of Radio Digest 
especially interests me because it con- 
tains in "Voice of the Listener" compli- 
ments to my great favorite, Graham 
McNamee. Here's another hand for a 
full-page picture of him. 

We hear so many beautiful organ re- 
citals over the air, would like to see pic- 
tures of organists at the consoles. Art 
Brown at the console of the mighty 
Wurlitzer organ at the Byrd Theatre, 
Richmond, Virginia, is called the premier 
organist of the South, a protege of Lew 
White. He plays brilliantly. Would be 
more than pleased to see a picture of him 
at his console. — Mrs. A. H. Scott, Vinita, 


HAVE read Radio Digest for two 
years. Do not think it is as good 
as it was — it is so much smaller and we 
miss some of the things that were in it — 
but, it is okeh for fifteen cents. 

Have wondered for a long time if you 
would not publish a good picture of the 
Seth Parker neighbors. Think it is one 
of the best thirty-minutes on the air. Was 
glad to find a good picture of Richard 

Voice of the 

Maxwell, the "John" of the skit, in a 
recent number. Keep right on now, until 
we have the Captain, Lafe, George, Fred, 

Would also like to see a picture of 
Cheerio of the National Broadcasting 
Company. (That's impossbile.) Perhaps 
you could tell us where to get the pic- 
tures, if you cannot publish them. — Mrs. 
I. A. Pratt, Sand Creek, Michigan. 


T HAVE been a reader of Radio Digest 
•*• for nearly a year, and enjoy it very 
much. It is a great magazine. 

I am a radio fan and am interested in 
listening to the many programs that come 
over the air nightly. This is my greatest 
pleasure. I tune in all the big programs, 
and many of the smaller ones coming 
from stations not on the network, many 
of which at times put on mighty fine pro- 

For the past two months I have been 
listening every week to a new voice on 
the air, coming from station WDEL — El. 
Thompson, singing numbers from the 
various New York shows. To my way of 
thinking, this fellow has a great radio 
personality and I would say is a "find." 

Your magazine tells us a great deal 
about the big station artists — how about 
telling us something about Mr. Thomp- 
son. — P. H., 599 Broadway, Everett Mass. 


T HAVE just finished October's Radio 
■*- Digest and it was fine — all .of it, but 
I particularly liked Tuneful Topics and 
V. O. L. My favorite artist is Rudy 
Vallee. No matter how many new and 
good artists come on the air, I can still 
say I enjoy Rudy as much, or more. I also 
like Jack Turner, and would like to see 
a picture of him, as well as a story; also 
Julia and Frank Crummit, Gene and Glen, 
Pie Plant Pete, Tony Wons, John 
Fogarty, Vaughn DeLeath, Myrt and 
Marge, Lucky Strike's (Tuesday) pro- 
gram, and most of the orchestras. 

I enjoy my radio very much; also 
Radio Digest. — Mrs. Fred Crans, Middle- 
town, New York. 


T HAVE been reading your magazine 
■*- since April, 1931, and this is the second 
time that I am writing to the VOL 
department. The first letter which I 
wrote in May, 1931, you never answered. 
Probably you couldn't read the writing. 
Anyway, I'll try again. 

When you reduced the size and price 
of your magazine and printed it in brown 
ink, we became discouraged and thought 
it was going on the "rocks." The pic- 
tures were "awful" — the paper worse. 

About that time another radio magazine 
came out on the stands, the price of 

which was only ten cents, and much 
better than your magazine. Everybody 
in our family decided to get the new one 
instead of your magazine. The Digest 
went out— the new came 1 in. But, one day 
I brought home the October number of 
Radio Digest — and were we surprised to 
see such a change in your book ! ! Well, 
you know the answer. The new magazine 
went out — and the Digest came back, 
with its new white paper, black ink and 
better pictures. In other words, a won- 
derful magazine. 

We hope you continue to keep OUT 
of your magazine the following articles : 
"Blue Ribbon Selections," "Chain Calen- 
der Features," and such articles that you 
had on beauty and household hints. And, 
why do you want space for such articles 
as Gleason L. Archer's? These articles 
are not for any good radio magazine 
such as yours. 

I know a lot of radio fans would like 
to see an illustrated write-up on the two 
"Stebbins Boys" and the "Goldbergs." 
How about them? 

I hope the future numbers of Radio 
Digest will be like the October, 1932, edi- 
tion.— "SPARKS", Medford, Massachu- 


HAVE just read your "write-up" about 
Lawrence Tibbett, and it is one of 
the finest things to appear in the columns 
of the Digest. To us who are readers 
there are a lot of things appearing in 
print that are poor reading — the subjects 
themselves are poor material. It is diffi- 
cult to make an interesting column about 
one who is of himself uninteresting. 

Now, the write-up about Tibbett is well 
done — the subject had a lot of back- 
ground. There is a lot of popularity 
connected with Mr. Tibbett, and you, 
Mr. Rock, have done a darned good job 
of it. You have given us something real 
and definite about a real and definite 
personality. It has not been just a word 
play with you. 

There is another person who is almost 
constantly on the air over the Columbia 
network, and of whom I wish you might 
write. This party is none other than 
Vincent Sorey, violinist. Perhaps he has 
been written up heretofore, but not to my 
knowledge. Vincent Sorey is one of the 
real artists of the violin world, quiet and 
retiring, and never willing to talk about 
himself. He has a musical background 
that is extensive and interesting. Ask 
him about his early life, the early train- 
ing in Turin, Italy, the Travelling in 
Argentine, etc. If you are not already 
acquainted with this young artist, you 
will enjoy meeting him. If you can get 
him to talk, you will be intensely inter- 
ested. I hope I haven't intruded with this 
letter. — Marion R. Powers, Stevenson 
Building, Fort Madison, Iowa. 


e n e r 


I READ with interest Miss Peggy 
Moore's high school faculty. I agree 
with Miss Moore on her all-star faculty, 
except for three persons. For principal, 
instead of Kate Smith, Jack Benny; for 
singing instructors, the Four Mills Broth- 
ers, and for mathematic instructor, Jack 
Pearl (so he could tell of his experiences, 
instead of making us get our geometry). 
She could keep Buddy Rogers for janitor, 
or something. 

Why not have an article on the Wiener 
Minstrels ? I have a date with them 
every Monday night. — Bob Gannon, 1709 
N. Main, Fremont, Nebraska. 


HAVING to wait so long for this 
month's (October) Radio Digest 
which I thought would never come, cer- 
tainly did disgust me. However, the 
situation was eased somewhat when it 
finally arrived and I saw some of the in- 
teresting features it .contained. I do wish 
you would decide to send out the mag- 
azine on the first of the month, instead 
of the fifteenth, or later. 

I am another who would like to see 
the return of the larger issue, and would 
be willing to pay for the bigger size. Due 
to the reduction, some of the best fea- 
tures have been omitted, including Nellie 
Revell's "Gabalogue." 

This letter, isn't meant to be all critic- 
ism ; I want to compliment you on the 
splendid articles "Okay America," "Can 
A Wife Help a Man Make A Career," 
"Good Morning Judge," "Letters to the 
Artist."' The pictures also demand 
special mention. 

Here's hoping you will comply with 
the requests for a larger Digest, and 
please the readers. — I. Mary Staley, 
Frederick, Maryland. 


"FOUR Detroit girls and yours truly 
■*■ thank you for the handsome picture 
you published of Gene Austin in the Oc- 
tober issue of your magazine. 

But, since you obliged us in printing 
our letter, why did you not print it in 
full? You did not overlook the merited 
praise we gave your magazine and we are 
deeply hurt that you should have left out 
our comments on our beloved Gene 
Austin, who is, to our minds, His Ma- 
jesty, King of them All. We believe our 
favorite to be entitled to due recognition 
the way Rudy and others get it. Scads 
of people feel as we do. 

True, we were fortunate to get a hear- 
ing even after three years of writing to 
Radio Digest, but we would have pre- 
ferred not seeing our letter printed at all, 
rather than have it so abbreviated. 

Although he is unaware of it, Gene 
Austin has sold many copies of Digest 

for you, believe it or not. While we con- 
sidered the magazine a source of real 
enjoyment, hopes of reading about Gene 
has kept us keenly interested. 

This, as is, will never be printed, that 
much we know. But, you promised us a 
write-up on Mr. Austin, and you will 
keep faith with us, please, will you not? 
— Jean DeVaux, Hartford, Connecticut 
(formerly of Detroit). 


PERHAPS you Easterners don't know 
A that the people on the West Coast are 
alive and very much interested in radio. 
Here's a little tip : we are still kicking 
and feel as important as anyone. 

Yesterday I read my first copy of Radio 
Digest, and don't mind admitting that it 
extremely disappointed me. You say that 
I have no complaints coming because I've 
only read one ? — Well, I don't agree with 
you. Here's the trouble : There were 
pages and pages about artists from the 
Eastern sections, but I almost had to use 
a magnifying glass to find out about any 
of the Westerners. Way back in the 
book were a few short notes — two 
columns. Did I see red? — You bet! 

Surely, what is in the book is very in- 
teresting — it should be to those in the 
East, but where do the Westerners get 
off, especially those of the Pacific Coast? 
Why not divide your book, taking artists 
from each section so as to please every- 
body? Of course, there were some that 
I had heard about — Rudy Vallee, for 
instance, but I have heard and seen so 
much of him that I have to look at a 
picture twice before his face disappears, 
and the one on the paper is clear. He 
actually pops from behind books and 
pages at all times. He is a nice person, 
alright, but why not give some of that 
advertising to Western artists? 

We do have some good announcers, 
crooners, musicians, and the rest. From 
the Don Lee station, there is the Happy- 
Go-Lucky "gang" ; Al Pearce, Mack, the 
fellow who sings on the records "Big 
Rock Candy Mountains" ; Norman Neil- 
son; Charley Carter, California's Maurice 
Chevalier; Cecil Wright, Walter Kelsie, 
a master violinist, Hommy Harris, Edna 
O'Keefe, whom you mentioned and gave 
us a picture of, and several others. 

From Seattle, KJR, those best known 
are : Al Schuss ; Chet Cathers, who rivals 
Phil Harris ; Grant Merrill ; Homer 
Sweetman ; Casey Jones ; Elmore Vin- 
cent ; and Thomas F. Smith ; Vic Meyers, 
orchestra leader, and by the way, Demo- 
cratic nominee for Lieutenant Governor 
plays almost nightly over KOMO. He 
is a man of very interesting character 
and would make a good interview. One 
of the best of orchestra singers was with 
him until a few months ago. His name 
is Billy Ullman, and he is still in Seattle. 

Ken Stuart and Ivan Ditmars are two 


very important members of KOL, Seattle. 
Pardon me, but I forgot to mention Abe 
Rashman (or something like that) and 
his talking violin, of KJR. They are 
plenty good enough for anybody's maga- 
zine. Dick Sharp, sports announcer, who 
has broadcast from KXA, Seattle, is one 
of the best ever. 

Here is hoping to see a Western Sec- 
tion in Radio Digest soon. — A Aliss 


T^OR the past eight months, we, the mem- 
■*• bers of the Ail-American Stars Club, 
organized in Birmingham, have tried to 
place the eleven best-suited orchestras in 
an All-American Orchestra Team. We 
are not going to sign our final opinion 
until December 31st, at midnight. Any- 
one, who sends a letter in with All- 
American first and second teams, will be 
an associate member of our club. 

At the present we submit the following 
as in letters we have received from over 
the states. 

We are going to receive at least three 
letters from each state. 

May we have your vote ? 

Right End — Ted Weeins. 

Right Tackle — Isham Jones. 

Right Guard — Vincent Lopez. 

Center — George Olsen. 

Left Guard — Ben Bernie. 

Left Tackle — Wayne King. 

Left End— Clyde McCoy. 

Quarterback — Ozzie Nelson. 

Left Half — Guy Lombardo. 

Right Half— Ted Lewis. 

Fullback — Paul Whiteman (Captain). 

Managers — The Walters O'Keefe and 

Coach — Eddie Cantor. 

Trainer — Rudy Vallee*. 

*Due to the fact that Vallee received 
many votes for many positions on the 
team, but not enough to credit him with 
any one position. 

Ted Weems and McCoy were a cinch 
at end because of their broadcast on 
Magic Carpet of Lucky Strike program 
on Derby Day in Kentucky. 

We will help the VOL and Radio 
Digest in any way we might. 

Anyone wishing to change this before 
December 31st, 1932, drop in your two 
elevens. Before one gets credit, he will 
have to write a first eleven, and a second 

Rules : 1. Position on first team is two 
points ; 2. Position on second team is one 
point; 3. Points are divided if more than 
one are placed on first or second position ; 
4. Don't place any man on team unless 
he proves satisfactory for that position. 

The Radio Digest will receive the final 
of this a week after December 31, 1932. — 
Blondy Rawlinson, Secretary, 3917-40th 
Avenue North, Birmingham. Alabama. 

HAVE been a steady listener to your 
programs, and a reader of Radio 
Digest fbr ages. Needless to say that 1 
enjoy both. Will you please try to get 
pictures and life sketches of Frank 
Knight and George Hartrick in R. D.? 
Mr. Hartrick, I think, is one of N. B. C.'s 
ace announcers. Have been watching my 
Digest for information concerning both, 
but so far, have searched in vain. — Edytha 
Burnett, 1219 Colburn St., Toledo. O. 





WELL! Of all things! Why! 
Who ever would have thought 
of that ? This is Marcella speak- 
ing, and not knowing just how to take 
the unexpected and very happy news 
which her Little Bird just carried in to 
her. Of course, one can't scold a bird 
for promoting a "match" which evident- 
ly is just what Toddles has done, al- 
though, until now, we had no idea that 
our Little Bird was also playing the 
role of Cupid. And just to show you 
that we are not "spoofing" about the 
affair, we are going to let you read for 
yourself a few paragraphs from a let- 
ter which just arrived. 

"I just got my new issue of R. D. 
Now I'm going to tell you 'sumpin'. 
Remember, 'way back in March R. D. 
that VOL. ran a letter from Mr. Eu- 
gene Walter Cain of Chillicothe, Ohio? 
Well, I was one to answer that letter. 
As a result, I am Mrs. Eugene Walter 
Cain today. Grandest man in all the 
wide world. Too handsome -for words, 
and oh, so good. We are just two 
radio fans made one; so just address 
me now Mrs. Gene Cain (isn't that a 
nice name). R. D. could mean Ro- 
mance Delivery ! 

"Again THANKS for Radio Di- 
gest and all it means to the happiest 
couple in all this world!!!" — Betty 
Cain, 635 Stibbs Street, Wooster, Ohio." 

Little Bird, we believe is as happy as 
that couple appears to be, and we fear 
we will get little work from her this 

Well, dear Mr. and Mrs. Cain, we 
extend to you here our sincerest con- 
gratulations, and best wishes for many 
years of happiness together. And, of 
course, a big cheer for Toddles, for she 
did do some good through her mes- 
sages ! 

Cora Snyder of Curwensville, Penn- 
sylvania, has asked us where she can 
locate the McCravey Brothers on her 
dial. Sorry, Cora, but the McCravey 
Brothers are not now on the air, and 
it is not known when they might re- 
turn. They will probably surprise us 
sometime soon. You are right, Mary 
Livingstone is the wife of Jack Benny. 

Hello again Bob (from Minneapo- 
lis) ! Here is something about Al 
Sheehan : He is WCCO's most popu- 
lar announcer (of course you knew that, 
or at least you guessed it). He is thir- 
ty, single, has blue eyes, light wavy 
hair, and we understand, looks well on 
the stage, as he is an excellent master 
of ceremonies, and therefore, makes 

-» : 

Pat Binford 

many personal appearances. Famous — 
for his vocabulary and his ability to 
handle difficult situations with a great 
deal of tact. Hobbies — writing poetry, 
and astronomy, with the stars a little 
in the lead. By the way, better keep 
your ears tuned for Walter Winchell ; 
expect him back on the air this month 
— with a beauty lotion company too. 

To all those who have been inquiring 
about Charlie Reinhart's orchestra : Our 
latest information is that he is located 
in Milwaukee, but at present is not 
broadcasting. We are advised they hope 
eventually to get a break on the air. 

Here is the hon- 
orable Pat Bin- 
ford, of radio sta- 
tion WRVA, for 
whose picture we 
have had numer- 
ous requests. 
Wonder if Pat 
realizes his most 
likable voice has 
made him so 
popular, and that 
this picture is go- 
ing to make happy many of his ardent 

We had a double page story, and 
a good photograph, of Vaughn De 
Leath in the November, 1931, issue of 
Radio Digest, Melody Circle Fan, and 
hope you will be able to secure a copy, 
because we are sure you will enjoy 
reading about her. 

Dear Mabel Newcomb : Is not the 
following what you have been pa- 
tiently waiting for? The characters 
in the Sunday at Seth Parker's pro- 
gram include : 

Phillips H. Lord Seth Parker 

Sophia M. Lord Lizzy Peters 

Effie Palmer Mother Parker 

Bennett Kilpack Cefus Peters 

Raymond Hunter Capt. Bang 

Gertrude Forster Mrs. Hooper 

Richard Maxwell John 

Norman Price Fred 

Edward Wolters A Neighbor 

Mary Merker Jane 

Muriel Wilson A Neighbor 

Polly Robertson Musical Arranger 

To That N. U. Sorority 

DEAR Members of A Sorority at 
Northwestern University : We 
want to express here our thanks for 
your kind words about Radio Digest. 
We believe Bob White is worthy of 

your praise and admiration, as he is 
still a very young man — twenty-nine 
years of age. As an item of interest, 
he played one hundred and twenty- 
eight different characters in "Rin-Tin- 
Tin." And if you have been ardent 
listeners to that program, you have 
also heard Mrs. White, "Betty," who 
plays child parts on the same pro- 
gram. She must have great fun play- 
ing with her own two sons too, Bob 
White, the third, age three and one- 
half; and "Skippy" White, age one 
and one-half. Bob (Sr.) is five feet, 
eight and one-quarter inches tall, and 
weighs one hundred and thirty-four 
pounds; Mrs. Bob is four feet, eleven 
inches, and weighs eighty-nine 
pounds. Mr. White, who, by the 
way, has the distinction of being the 
only American to play "Raleigh" in 
the English war play "Journey's End" 
although there were sixteen com- 
panies on the road, was born in Phila- 
delphia. He attended Penn Charter 
School and University of Pennsyl- 
vania, went into the theatre ten years 
ago — stock, production and road 
shows, and married during the run 
of the road show "Three Wise Fools." 
He is now producing and writing 
two dramatic programs "Brown Stone 
Front" and "Si and Mirandi" for 
Standard Oil Company. 

At last!!! Betty Jeanne C, Bob, 
and others, you will find on this page 
some interesting facts about Thomas 
Dunning Rishworth. Thomas, known 
to all children listeners of station 
KSTP as Uncle Tom, has developed 
the largest birthday club for children 
in the history of radio. Uncle Tom 
has had extensive parties for children 
too, inviting them 
not only to visit 
him at the studios 
while presenting 
his broadcast, but 
also asking them 
to sing, dance, 
and what-not. 
Thomas R i s h- 
worth also con- 
ducted the pro- 
g r a m entitled 
"The King's Eng- 
lish" over the same network. He is 
tall, has dark hair and eyes, is twenty- 
five years old, being one of the young- 
est men on the KSTP staff, and is 
unmarried, so far we now know. He 
is English and prides himself on 
everything English. From the Uni- 
Minnesota, where he re- 
training in dramatics, he 
an announcer. He dis- 
himself as a playwright, 
while at the University, when he re- 
ceived second prize in a national play 
writing contest in which David 
Belasco was one of the judges ; a bur- 
lesque called "Radio Reforms." 

Thos. Dunning 

versity of 
ceived his 
started as 

May and Peter 

(Continued from page 15) 

lave been domestic partners as well 
is professional ones; while Dr. Minor 
enjoys the distinction of being a min- 
ister who is regarded as "one of the 
family" by the couple he joined to- 

Now, Mr. and Mrs. de Rose dare 
not sing about parting, for as sure as 
static, the next day the mail man 
will be offering his protest along with 
hundreds of others he delivers from 
folks all over the country. 

I could not help but think that May 
and Peter had unofficially become 
Radio's Romance Department — and 
were taking their job seriously, as 
evidenced by all this activity on Sun- 

Though the audience really dictates 
their programs, I learned that May 
is responsible for the continuity, and 
the unique way of presenting them in 

And upon Peter falls the job of 
keeping up their huge library of 
songs, over 10,000 in all ; as well as 
constantly composing new numbers. 
And it was plain to see that next to 
May, the piano is Peter de Rose's 
grand passion. He plays entirely by 
ear, though possessing a thorough 
musical background, having studied 
abroad for several years. I was told 
that he comes of a family of ten mu- 
sicians, and is of Italian parentage, 
though born in New York. 

While May, I discovered, has writ- 
ten quite a few of the lyrics of her 
husband's melodies, and in addition, 
dashes off ukulele arrangements of 
popular songs for some twenty-five 
publishers ; and instructs a large class 
in the art of ukulele playing. Trying 
to get students to carry on with the 
uke after the easy preliminary les- 
sons, and discover for themselves its 
possibilities as a real musical instru- 
ment, she considers her only "tough" 

May learned to play the piano 
when she was but four years of age. 
She also is a born New Yorker, but 
has spent much time studying abroad, 
and would probably be playing the 
piano exclusively today instead of be- 
ing the foremost exponent of the 
ukulele, if it were not that a depart- 
ment store refused to exchange 
musical instruments, and she had to 
keep the "uke" which had been given 
to her as a Christmas present. 

Miss Breen's spirit of not letting 
anything get the best of her made 
her learn to play the then despised 
instrument, which is today perhaps 
her most prized possession, for it has 
brought her love, fame, and fortune. 

After tricking the Ukulele Lady 
and her pianist husband into having 

a picture made by the barrel of tan 
mail — I felt I had done quite enough 
for one Sunday afternoon . . . and 
slipped out the door quietly as the 
Sweethearts became absorbed in a 
new melody at the piano. . . . 

Grofe in the Sun 

(Continued from page 7) 

could put it down without much 
thinking about it. 

He brought cider and cigars. And 
went on with his work and soon it 
was finished. He stepped to the 
piano, put the music before him and 
rambled over the keys. Then he 
rolled up the script and gave it to 
the boy who rushed away with it. 

"What happens next to that par- 
ticular bit?" I asked. 

"It goes to the extractor, who 
probably will spend the rest of the 
night on it," replied mine host. 

We talked about border days before 
the World War when he played in small 
amusement halls haunted by the sol- 
diers who were camped along the 
line. Then how he had been im- 
pressed with the grandeur of the 
Grand Canyon. These were impres- 
sionistic days for him. Finally he 
came to California, Los Angeles and 
San Francisco. The flu had driven 
him from the former place, but in 
San Francisco flu masks were the 
vogue where people had to dance. 

There he played in the Portola 
Louvre, the only place open at the 
time. People wore their flu masks 
even to dance. Paul Whiteman was 
in the Fairmont Hotel. Grofe had 
picked up some tricks from the Dixie 
Jazz band records and enlarged upon 
them. It was amusing, much more 
amusing than it had been playing 
trombone in the Tom Ince rube band 
at Los Angeles. There were saxo- 
phones in this new jazz idea, and that 
was a chance for trick arrangements. 
Just as it seemed that Grofe and 
Whiteman were going to make their 
first acquaintance Whiteman was taken 
down with nervous prostration. But 
Whiteman had heard the Grofe trick 
playing and he did not forget. Later 
they were in Los Angeles and White- 
man sent for him. Whiteman was play- 
ing at the Hotel Alexandria and Grofe 
at Roma Cafe. 

"I can use you very well as a pian- 
ist," said Paul. 

"Thanks, how much is there in it?" 
asked Mr. Grofe. 

"The most I can offer you is $60 
a week." 

"My price is $75," Grofe replied. 

"I'll have to see my manager," Paul 
answered. Later they compromised 
on $70 a week and that was the be- 
ginning of a long period of associa- 
tion. It started during Christmas 


week in Los Angeles in 1919. They 
made an incidental business of play- 
ing around at the homes of the fam- 
ous movie stars. The first tune 
played under the new alliance was 
"Dardanella." Saturday nights Grofe 
played extra in a symphonic orchestra. 

There was a very critical period 
when Ferde Grofe might have turned 
into a fancy chicken farmer just be- 
fore the great and sudden rush to 
fame of the Whiteman orchestra at 
the Palais D'Or in New York. Grofe, 
Buster Johnson and Gus Miller were 
planning to go to Atlantic City from 
the West under telegraph instruction 
from Whiteman. They did not care 
to go, and worked out a scheme to 
remain in California. At last they 
hit on the idea and possibilities of a 
chicken ranch. It would be some- 
thing more dependable than the un- 
certainties of musical engagements. 
They had it all figured out how, 
Grofe still believes, they could have 
made a fortune. But then Paul ar- 
rived in town and sent them on their 
way to Atlantic City and they went to 
work in the Ambassador Hotel. From 
Atlantic City they went to New York 
and played at the Palais D'Or where 
Grofe kept working out the jazz ar- 
rangements which were played from 
his penciled scripts. 

It was not until 1923 that Ferde 
Grofe's name began to be known as 
the Whiteman arranger. Then it ap- 
peared on the phonograph records in 
conjunction with the name of Paul 

This information is all very much 
condensed from the conversation we 
enjoyed that evening at the Grofe 
home. There was no boasting, and 
only persistent and pointed questions 
brought out the main facts gleaned 
here. Not that the maestro was shy. 
he merely did not think of himself. 
He was fluent enough about incidents 
that amused him and such expres- 
sions as "we had more darned fun" 
at one place or another during those 
early days. 

At times, as we sat there, he would 
go in to see Mrs. Grofe who had re- 
tired with their four-weeks-old infant. 
Anne Carlin. There also is a junior 
who is two years old. Just now, 
besides a great deal of routine or- 
chestration Ferde Grofe, is working 
on two new suites, one of which will 
be called "Tabloid." and another "Rip 
Van Winkle." Recently he was ap- 
pointed official Composer of Radio 
City in New York. 

With the opening date for Radio 
City close at hand Roxy sent for 
Ferde Grofe and had him appointed 
as official composer and arranger for 
this greatest of all show centers in 
the world. As these lines are written 
Mr. Grofe is just stepping into his 
new job. 



RECENTLY selected as WLW'S staff soprano from a group of 
more than twenty-five of the country's leading radio and stage 
sopranos, Miss Kessler is considered foremost among America's young- 
er lyric sopranos. Schooled for the opera stage, she made her radio 
debut two and a half years ago — while still eighteen years old — over an 
NBC coast-to-coast network. Four months after arriving in New York, 
Miss Kessler was awarded the Juillard Fellowship, in which institution 
she studied for the following three years. 






THE Midwest, unfortunate in its 
modesty, doesn't speak any 
too often. 
When it does speak, it 
speaks well. 

When Al Sheehan, vocabulary spe- 
cialist at WCCO in Minneapolis, was 
sixteen, he filled half the pages of a 
high school annual with poetry. He 
wrote it easily, naturally, and no one 

That was, well — say, fifteen years 

Today, the music of words still 
lingers in this genial, fun-loving young 
Irishman. The only difference is that 
he has a different medium for expres- 

He walked into WCCO five years ago 
and asked for an audition. They gave 
him one, and the next day he was on 
the payroll. 

Words, you must admit, come easier 
to some people than to others. They 
have always had an important place in 
the life of Al Sheehan. Someone, some- 
where, taught the Irish how to talk. 
Al has been, in succession, newspaper- 
man, actor, salesman, radio announcer. 

The words have always been there. 

In the last analysis, the public, the 
radio public, will vote for a voice that 
can interpret words ; a voice that has 
life and laughter in it. There are 
voices that are smooth, like thin syrup. 
There are voices that are perfect in 
their inflection: too good to be true. 
But the public, at heart, is human, and 
wants a voice to be natural. 

Welcome, Mr. Sheehan. 

take their radio programs seriously in 
Minnesota, Iowa, Wisconsin and the 
Dakotas. There isn't diversion at every 
turn of the road, especially during the 
winter months. And the Scandinavian 
population is by no means the least, in 
numbers or importance. 

Drop in at the corner store in the 
small towns and they will tell you that 
Al Sheehan has learned to talk Swedish. 
Don't ask if it is good Swedish. Be 
satisfied that it is uproariously funny. 
Mix an Irish lilt and a Swedish nasal 
and you've got something. 

It started when Oscar Danielson, who 
used to be a sausage maker, and before 
that a street singer in Stockholm, Swed- 
en, assembled an orchestra and let the 
public discover that he was a born 

Al Sheehan, They Say, Surely Kissed the 
Blarney Stone. 

By Elmer W. Peterson 

Al Sheehan announcing. 

The first night there was a slip. 
The announcer signed off as "Al Shee- 
han — son." 

The second night Al Sheehan an- 
nounced the musical numbers — in Swed- 

The third night the public wanted to 
know: "Is Al Sheehanson a Swede?" 

Since then the public has learned a 
lot about Al Sheehan (son). 

Not long ago a remarkable trio went 
on the air, singing a Swedish song. 
Shoulder to shoulder stood El Brendel, 
movie comedian, Al Sheehan (son), and 
Oscar Danielson. Oscar did the sing- 
ing. Brendel and Sheehan contributed 
the volume. 

Sheehan is a personable young man, 
who, when the stock market was boom- 
ing, sold securities by virtue of Irish 

blarney. He had almost quit writing 
poetry when he joined WCCO. Now 
he's at it again. 

He is an amateur astronomer, can 
tell you a lot about the heavens. He is 
single, has light, curly hair and blue 
eyes, and looks well on a stage. 


.E is prodigiously happy 
when talking. When the Knights Tem- 
plar held their international convention 
in Minneapolis last summer, he talked 
into a microphone for three hours with- 
out stopping, describing a parade that 
lasted that long. He reminds you of a 
pianist, lazily improvising. They give 
him personal appearances in Minne- 
apolis theatres now and then, to hear 
an Irishman talk, and he's perfectly at 
home announcing. 


Jrank Watanabe and th 

The Honorable Archie himself — none other 
than Reginald Sharland. 

WHAT are the men behind 
the characters of Frank 
Watanabe and The Hon- 
orable Archie like, 
(KNX, Hollywood) ? Are they as in- 
teresting as they sound? 

Eddie Holden, the creater of Frank, 
the Japanese Houseboy, was born in 
San Francisco not so many years ago, 
attending school there, majoring in 
astronomy while at College. He comes 
from a long line of musicians and ar- 
tistic people. His father, E. J. Holden, 
left the Santa Clara University, where 
he was studying for the Priesthood, and 
entered the dramatic field, teaching 
elocution. From this he drifted very 
naturally into the theatrical business 
and as a producer won a niche for him- 
self in the early days in San Francisco, 
achieving his first success as Bill Sykes 
in "Oliver Twist." He numbered 
among his close friends and associates 
the great Theodore Roberts and John 
Drew. Mr. Holden met Eddie's mother 
in his first production, where she was a 
member of the company, but after their 
marriage Mrs. Holden retired to pri- 
vate life. 

Honorable Archie 

IIZX ° f '™. sc '; ie i tt !''. u *i u ; 1 ': is m '-.'- •pp-'* «— * be- 

around the corner of his sunny disposi 
tion. He confesses to being a great 
admirer of Lincoln, very fond of biog- 
raphies of all kinds, a lover of good 
music and regular attendant at operas 
and symphonies, and does he like John 
McCormick, or does he like John Mc- 
Cormick ! He is an ardent baseball fan 

fore school gatherings, club luncheons, 
private theatricals, etc., in this por- 
trayal. His first radio appearance was 
made at KFRC in 1923 and since that 
time he has made a host of friends in 
San Francisco and in Los Angeles. 

Of Eddie's several other character 
portrayals, he likes Scudder best, feel- 

, , — - f"' ""-j <"■=, "<= iii^cb ocuucier Dest, teel- 

W ™?r V6r tHe ° p P° rtun ^ P ermits > i*g very much at home and at ease with 

plays golf 

Young ladies, attention : Eddie Hol- 
den's first requirement of girls is that 
they be attractive and intelligent. Then 
they may be blond, brunette, or red 
head, he really doesn't care. 

Eddie Holden served in the Navy dur- 
ing the World War. He did, he says, 
see some water— they permitted him to 
come across to the Ferry Building in 
San Francisco. Not being able to get 
overseas just about broke Eddie's heart 

that since Eddie's grandparents came 
from "Down East," Scudder's home. 

In addition to his radio activities, 
Eddie Holden finds time to write short 
stories, and has from time to time con- 
ducted columns for newspapers, one 
syndicated article entitled "The Japa- 
nese Reporter." 

Eddie's profession has enabled him to 
meet a host of most interesting per- 
sonalities and he numbers among his 
close friends several Swedish sea cap- 

i ——.*■. uuoi. menus several .Swedish sm ran- 

first la"? ° n SeCmg * e rUmPUS at t3inS Wh ° m he ^ -sHs Tn their 

Eddie spent a number of years in the ^anesf ^J.^^ ^LnZ 

hTSr c'oaTf"" UP ^ d ° Wn , ? nIy AmeHcan invit6d * exd u j ve e 
house He T 1 a C T merC,al J a P anese affairs - Through these friend- 
house. He was also engaged m the ships with people of all nationalities 
business of artistic window displays and Eddie has come to know T^eat deal' 
sage settings which he and his partner about foreign foods, and he 1 h 
designed and installed. At one time his thoroughly enjoys the Japanese foods 
firm created rephcas of some of Cali- which are prepared to pfease V e ey e 
forma s famous resorts for one of the as well as to tempt the ap P ed te 

In a most en- 


HTMSICAL, with a 
keen sense of humor, Eddie Holden is 
very reticent and rather shy. It is most 
difficult to make him talk about him- 
self, but he waxes most enthusiastic 
about Frank Watanabe and will talk for 
four hours on that subject. Eddie is 
tall and dark, with twinkling blue eyes 
and a deep cleft in his chin, denoting a 

larger exclu 
sive stores in 
San Francisco, 
actually cut- 
ting and haul- 
ing down for 
their window 
display some 
trees from 
Muir Woods, 
and "local 
color" from 
each of the 
other resorts 

The charac- 
ter of "Frank 
was created by 
Eddie while he 
was still at- 
tending gram- 
mar school, 
and during- all 

thusiastic and 
manner, Eddie 
Holden speaks 
of Frank 
whose charac- 
ter he would 
like everyone 
of his audi- 
ence to under- 
stand. Frank 

"Frank Watan- 
abe" is Eddie 
Holden, writer 
of this popular 
radio act and 
chief actor in it. 

is supposed to be a young man of about 
twenty-five, who was born in Japan but 
lias come to America — having been 
here about eight years — to "get famous 
and learn American ways and enjoy the 
sunshine from the Statue of Liberty 
night and day." Frank was educated in 
the schools of Japan and is an inveter- 
ate reader and student, a typical Orien- 
tal, given to mimicry, extremely loyal, 
honest and faithful to his employer 
whom he adores. Frank hopes some 
day to get married and "have an en- 
larged family" and says that he hopes 
it will be preferably to a Japanese girl, 
but that as he has a broad-minded stom- 
ach and mind, he eats anything — also is 
very fond of children. Like a trusting 
child, he believes in everything and can- 
not understand that everyone is not 
good, believing that no one would hurt 
him. Anyone he meets one day is his 
chosen and bosom friend the next. 


LAND, a distinguished and reserved 
English gentleman, is a product of the 
London stage, having played in all the 
important West End London theatres 
for a good many years, in drama, musi- 
cal comedy and revue. He has the dis- 
tinction of having played two command 
performances before His Majesty King 
George of England, one in the London 
Hippodrome and one in The Palladium. 
Mr. Sharland was the first vocalist to 
appear with Paul Whiteman's Band in 
England, singing the song which intro- 
duced Whiteman to the London audi- 
ence. He has played Shakespeare, and 
has appeared in practically all of the 

Now that's what we call pulchritude— the girl on the couch of course. She's a peach, 

but not from Georgia and her name is Dorothy Lamour, featured soloist for Herbie 

Kay and his orchestra who broadcasts from WLW in Cincinnati. 

Gilbert & Sullivan operas. He toured 
Australia and New Zealand and then 
made his first visit to America for the 
Shuberts, accepting a role in one of 
their Broadway presentations. 

Since making his home in Hollywood, 
Mr. Sharland has appeared in a number 
of talking pictures, opposite Gloria 
Swanson, Constance and Joan Bennett, 
Betty Compson and Sally O'Neill. His 

Stutter and Whine, versatile writers and radiactors at WGH, Newport News, Va. 
They portray all of the characters shown in the picture. Stutter is Bob V. Drake and 

Whine is Jimmie Scribner. 

many radio activities have rather 
pushed the pictures into the background, 
but soon Mr. Sharland hopes to re- 
appear on the silver screen. 

During the war, Mr. Sharland served 
with the Durham Light Infantry, finish- 
ing up with rank of Brigade Major. 

In portraying the character of The 
Honorable Archie, Mr. Sharland en- 
deavors to show him as a human being, 
not as the spurious character so often 
palmed off on the American theatre- 
going public. Archie is dignified, quiet, 
reserved, with a huge capacity for 
affection but a horror of displaying 
emotion, whimsical and humorous, but 
very shy under his veneer of sophistica- 

Reginald Sharland thinks California 
the sportsman's paradise, and this after 
having travelled around the world and 
visiting some of the earth's most fas- 
cinating places. Like most English- 
men, Mr. Sharland is a thorough sports- 
man, playing tennis, polo and cricket, 
and riding every day if at all possible. 
A member of the famous "Thespids," 
Reginald Sharland, C. Aubrey Smith. 
Anthony Bushell and Basil Rathbone. 
friends of many years' standing, formed 
a sort of reunion of the London club. 
and play cricket under the banner of 
The Hollywood Cricket Club, on the 
campus of U. C. L. A., attracting a 
great deal of attention and much favor- 
able comment. The famous "Snowy" 
Baker, close friend of Sharland's, in- 
troduced him to polo here. 



Pickard family 


The Pickard Family in action. There's Dad on the left, with something that makes music in his hand. Charlie is strumming 
away at the guitar and Ruth is drawing a mean bow, while Ma does her stuff at the organ. 



'HOOP 'em up, Cindy, the 
chicken's in the bread pan 
pickin'- out dough!" 
Pickard Family, nationally 
radio artists, have returned to 
their first radio love, WSM, the broad- 
casting service of the National Life and 
Accident Insurance Company in Nash- 
ville, to present a series of typical Ten- 
nessee Mountaineer programs. Dad, 
Mother, Ruth, Charlie and Little Ann 
are featured on the new 50,000 watt 
station of WSM at 6:45 o'clock Mon- 
day, Wednesday, Thursday and Friday 
evenings. They also are on the Grand 
01' Op'ry of WSM every Saturday 

During the past few years, the Pick- 
ards have appeared on many national 
broadcasts, including General Motors, 
Interwoven Stockings, Billiken Shoes, 
Lucky Strike, the National Farm and 
Home Hour, Socony Sketches and many 
others. They divided their time be- 
tween New York and Chicago. From 
the time they started with the National 
Broadcasting Company, the Pickard 

Family has presented a sustaining pro- 
gram once each week, which was car- 
ried on a national hookup. As a con- 
sequence their radio friends number in 
the millions. 

Specializing in the homespun tunes 
of the South's countryside, Dad and his 
family have touched a warm spot in the 
hearts of Mr. and Mrs. America, to say 
nothing of the youngsters who are al- 
ways delighted with Dad's yarns. They 
have two homes, one in Nashville and 
one in the country about twenty miles 
away at Ashland City. 

V V V 

Alvino Rey of KGO 

ESTRELLITA"— the lazy throb of 
a steel guitar — moonlit nights in 
old Spain — Alvino Rey ! 

Can you picture a gay young trouba- 
dor, with a gallant air, and black flash- 
ing eyes? You can? Well, you're 
wrong. Alvino Rey, sans microphone 
and guitar, becomes Alvin McBurnie, a 
tall blond Scotchman. 

The pseudo-senor was born July 1, 

1908, in San Francisco, and was edu- 
cated in the east. He ranks among the 
pioneers of radio, having begun at the 
technical end by building an experimen- 
tal station when just a child. He was 
only ten years old when he received his 
first station operator license, and soon 
acquired all commercial licenses that 
were granted. 

During high school years, he studied 
electrical engineering. It was not until 
1927 that he turned seriously toward the 
entertainment field. Then followed a 
more complete study of guitar, banjo, 
and other string instruments. 

Alvino played with Phil Spitalny's or- 
chestra at Hotel Pennsylvania in New 
York from 1928 to 1930, and then took 
the westward trail after a ten year ab- 
sence from his native State. Shortly 
after his return to San Francisco, he 
became affiliated with NBC's KGO. as 
featured guitarist. 

Alvino is thoroughly air-minded, his 
chief interest next to radio being flying. 
He is a licensed pilot, and expects to 
own his own plane in the near future. 

WHAZ, Troy, N. Y. 
the Air a Decade 


''T^HE pioneer college radio broad- 
X casting station, radiophone WHAZ 
at Rensselaer Polytechnic Institute in 
Troy, N. Y., celebrated its tenth anni- 
versary "on the air" recently with a 
series of fifteen programs of varied 
character during the evening hours 
from 6 p. m. to midnight. The enter- 
taining artists included some of the pio- 
neer broadcasters. Among these were 
Irv Gordon and his Domino Club Or- 
chestra, which furnished the first pro- 
gram from this station September 10, 
1922, and has been heard regularly 
throughout these ten years as probably 
the oldest radio orchestra still in exist- 
ence. Likewise the Campus Serenad- 
ers, composed of students of Rensselaer 
Polytechnic Institute under the direc- 
tion of A. Olin Niles for almost a dec- 
ade, celebrated its tenth anniversary this 
Autumn. Although the personnel of 
this orchestra changes with every grad- 
uation and many of its hundred or more 
members who during the course of years 
have played saxophone, trumpet, piano 
or drums for radio listeners are now 
sedate alumni engaged in technical pro- 
fessions, the orchestra goes on like 
Tennyson's brook. 

Many who have since become famous 
in broadcasting were first heard from 
this earliest college station in Troy. 
Former Governor Alfred E. Smith, who 
has stirred millions with his familiar 
voice on the air, was first introduced to 
the "raddio" in the Fall campaign of 
1922 in the studio of WHAZ by Ruther- 
ford Hayner, program director, who has 
continued in that capacity throughout 
the entire decade as probably the an- 
nouncer longest in continuous service 
from any single station in the country. 

Another who had his earliest experi- 
ence in this studio is Little Jack Little, 
that youthful veteran at the piano known 
to all radio chains, who whispered his 
songs into the WHAZ "mike" years 
ago. T. H. Barritt, who first introduced 
the musical saw in broadcasting, had 
an early try at the larger audience here. 
Several accomplished singers now in 
national radio, in concert, on the stage 
or even at Hollywood overcame micro- 
phone fright in the attractive and ac- 
coustically correct WHAZ studio. And 
there are a legion of others, all pioneer 
radio volunteers who gained their early 
experience in the Rensselaer Tech 

V V V 

Stages Underground 
Audition on Train 

young composer-accompanist for 
Jacques Belser, tenor, (on WINS, New 
York, every Monday morning at 11 :30), 

was riding the Hudson tubes train to 
his home in Newark. 

He was thinking about the problem 
Belser had presented to him: where to 
find an outstanding guitarist for their 
WINS radio act? Then he saw anoth- 
er colored boy at the other end of the 
car carrying a guitar case. 

"A guitarist in the tubes is worth a 
dozen in the open where they can get 
away from you," Erskine thought, so 
he made the acquaintance of the other 
chap, told him about Belser's radio pro- 
gram and induced him to unleash the 
guitar and provide some music for the 
passengers who were Newark-bound at 
that late hour. 

"And how that boy can play the gui- 
tar!" Butterfield says of his discovery. 

"I got him to play for Belser the next 
day and there never was any question 
about him being just the man we had 
been looking for. He'll give listeners- 
in an earful." 

The new guitarist is Walter Cornick, 
professional musician, now playing with 
one of the famous orchestras, a master 
not only of the guitar but the banjo, 
with that distinctive sense of rhythm 
and harmony so characteristic of the 
Negro race. 

In honor of his three colored instru- 
mentalists, Butterfield and Walter Bish- 
op, pianists, and Cornick, Belser here- 
after calls his new act "Jacques Belser 
and His Three Spades." They are heard 
on WINS every Monday at 11:30 a. 
m., in an entertaining program of popu- 
lar music. 

V V V 

Is Harrison Holliway 
the Oldest Announcer? 

present time can lay claim to be- 
ing the oldest announcer — and he is only 
31 years old. He is manager of sta- 
tion KFRC in San Francisco, and has 
been since 1924. But he has had his 
finger in the radio pie since as far back 
as 1911, when he built his first receiv- 
ing set out of a crystal detector, a loose 
couple and a fixed condenser. 

In 1919 he built his first transmitter, 
with the call letters 6BN, which he still 
retains. It was in November of 1920 
that he talked over his station and was 
heard way up in Vancouver, Washing- 
ton, setting what was claimed at that 
time as a long distance wireless tele- 
phone record. 

It was about that time that KDKA 
at Pittsburgh made its official bow on 
the air as the world's first commercial 
broadcasting station. The original 
KDKA announcer has long since left 
the radio announcing picture, while 
Holliway has remained very much in it 
during all these years. 

Yes, Mr. Ripley, Holliway identified 
himself with the first commercial station 
in San Francisco — KSL, 1922. 



like a 

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Sob White 

By Louise Dix 

BOB WHITE'S first job was that 
of selling the "Standard Diction- 
ary of Facts" from door to door. 
He worked five days, couldn't sell a 
single fact, and tried to return the sam- 
ple volume to the company for the $13 
he had paid for it. They bought it back, 
however, for $5 as "used" merchandise. 
Hardly a breathtaking example of sales- 

And yet this same Bob White recent- 
ly sold two radio programs in one week 
to John D., "Brownstone Front," the 
"street scene" of radio, for the metro- 
politan areas, and "Si and Mirandy," 
fashioned after the characters in Op- 
per's famous cartoon, "Maude the 
Mule," for the rural districts. Bob 
plays a character in each of these scripts 
— both of which he writes and produces. 

In the Household Program of "Mu- 
sical Memories," of which Bob is co- 
producer with Andres Selkirk, he does 
the part of "Mr. Listener." He also 
writes, produces and acts in "Mahdi's 
Magic Circle," a program for young- 

As Dr. Petrie in Sax Rohmer's "Fu 
Manchu" mystery stories, Bob is the 
only American born member of the cast. 
His English accent is so perfect that 
he was the sole American to qualify for 
the role of Raleigh in "Journey's End." 

As an original member of the cast of 
the "Rin-Tin-Tin" thrillers, Bob has 
missed only three shows and has played 
nearly 150 different characters. One 
week he portrays a Civil War veteran, 
the next week a 14-year old boy — -and 
does them with astounding authenticity. 

Although a veteran of the boards, 
Bob confesses to only one superstition. 
"I'm fearfully superstitious of playing 
thirteen shows in one day — or one year," 
he says. 

Bob has had a busy life and he is 
moving ahead fast. He began the new 
year with new business. Radio Pro- 
gram Service came into being, with Bob 
and Andres Selkirk as partners. They 
sell a swell program to Household Fi- 
nance Corporation — which finances new 
business — (the program does, not the 
company). Life and new business move 
slowly . . . Oh yes, our hero continues 
to act in "Rin Tin Tin" thrillers, which 
began on NBC two years before. By 
this time Bob has played a different 
character every Thursday night for 
over one hundred weeks. Spring of '32, 
Radio Program Service sells another 
program, "Lone Reporter." On CBS 
for eight weeks. Otherwise, business is 

tough. Eddie Guest joins Household 

Bob is the only actor-author in Chi- 
cago who produces his own shows ! 

V y V 

John War die of 

JOHN WARDLE, better known to 
the New England radio audience 
by the title of "Ted" of "Ted and His 
Gang," one of the popular features of 
station WNAC in Boston, owes his 
start and large measure of his success 
in radio to a practice of taking advan- 
tage of spare moments. 

With a few spare moments on his 
hands one day two years ago Ted, as he 
is called at the studio, strolled into 
WNAC to watch the broadcasting. The 
longer he gazed through the glass panel 
doors from the reception room, the more 
he became convinced that he could be- 
come an announcer. 

"How does one break into this radio 
game?" was his abrupt query made to 
Roy Harlow, then manager of the sta- 

When Mr. Harlow replied, "Well, 
that's it, it is simply a matter of break- 
ing in," Ted grasped what he inter- 
preted as an opportunity, and exclaimed, 
"Fine, I'll break in right now." 

Although the conversation had been 
brief, Manager Harlow was impressed, 
and agreed to give Wardle an audition. 
He passed the test and was assigned to 
station WEAN in Providence. After a 
month in the Rhode Island city he was 
called to WNAC in Boston. 

He studied music, voice training, and 
elocution at the Boston College of Lib- 
eral Arts. His chief hobby is travel- 
ing, although he also has a fondness 
for radio, dogs, and automobiles. His 
vacation last summer was spent on a 
10,000 mile trip to Alaska. He took 
his departure 10 minutes after closing 
a program on the air, and returned just 
10 minutes before he scheduled to open 
a program three weeks later. 

y y y 




Every Monday II P. M. 




Program Arranged by 

Broadcast Producers of New York, Inc. 

220 W. 42nd St. New York 

Pacific Coast Echoes 



By W. L. Gleeson 


VHE National Radio & Television 
School of Los Angeles has in- 
stalled its own broadcasting 
studio. The inaugural program was 
broadcast October 27th, over station 
KNX of Hollywood. Freeman Lang, 
well-known transcription maker, gave 
the program his magnetic personality 
as master of ceremonies and introduced 
the music and talent of the evening. 
Naylor Rogers, manager of KNX, was 
heard during the ceremonies. 

There is a group of NBC artists 
heard regularly every Wednesday eve- 
ning 8:30 to 9:00 that you listeners of 
the West should turn your attention to. 
This program is one of the outstand- 
ing ones at present ; easy to listen to 
and provide a much-needed diversion 
these evenings. 

A little girl in love with the great 
outdoors is Merle Matthews, produc- 
tion director of KFRC in San Fran- 
cisco. She's happiest when astride a 
horse in the mountain wilderness, armed 
with a rifle almost as big as herself, 
after the elusive deer or with a rod 
whipping the trout streams of Califor- 
nia. She's made hunting expeditions to 
the almost inaccessible Iron Peak Rang- 
er Station in Northern California's Hill 
country — Some Diane ! 

Presenting the haunting and exquisite 
"Isle of Golden Dreams" feature with 
its organ, vibra harp and steel-guitar 
combination, from 9 :30 to 10 :00 p. m. ; 
KOIN, Portland, still maintains its 
mighty following. 

Leaving the West for a moment — the 
"Great Moments In History" broadcast, 
October 23rd, over KDYL, impressed 
this writer very much. It was the dram- 
atization of the Fall of the Alamo. "I 
am a Texan," and maybe that accounts 
for my liking this particular program. 

Music of the beloved Victor Herbert, 
interspersed with operatic airs, featured 
the Inglewood Park Concert at Los An- 
geles with the famous Gino Severi, who 
was the baton wielder. Everyone at- 
tending was thrilled by the masterful 
rendering of the compositions of Amer- 
ica's glorious composer. 

Ardis Long, with KFOX three years 
ago, has returned to the staff and has 
taken up the all encompassing position 
required of general staff girls at KFOX. 
The recent loss of "The Three Girls," 
Roily Wray, Pauline and Christine 
Stafford, who left the station to begin 
a vaudeville tour, billed as the "Lamb 
Sisters," robbed the station of much 
of its female pulchritude. However, 
since Ardis Long's return, KFOX is 
able to uphold its reputation for staff 

beauties. Ardis is a tall blonde, with 
just that right grace and poise that 
goes with a smile that charms. 

Team Mates, with Mary Wood as 
soprano; Irving Kennedy as tenor pre- 
sent a truly enjoyable half hour's pro- 
gram over the NBC Orange Network 
every Wednesday evening. They an 
ably assisted by the Snowdrift Quartet 
consisting of Gilbert Chick and David 
Bell, tenors ; Joseph Tissier, baritone ; 
Armand Girard, basso; Mynard Jones, 
pianist and director. Also heard on 
the program is the entrancing guitar 
soloist performances of Sam Moore. 
Meredith Will son is the unassuming 
but dexterous orchestra director. 

The Air Edition of the Rocky Moun- 
tain News, heard nightly from 10:00 
to 10:15 p. m. over KOA, Denver, Colo-, 
rado, is an unique feature used to im- 
part world occurrences to station dialers. 

The radio audience's desire to see its 
microphone favorites "in the flesh" has 
prompted KFRC to book most of its 
performers on barnstorming tours over 
the weekends. 

Miss Beatrice Hagen, sensational 15 
year old Los Angeles school girl, who 
made such a hit with her soprano voice, 
continues her rise to stardom. 

What does a radio singer warble 
when he sings for his own amusement ? 
Armand Girard, NBC, Orange Net- 
work, basso, likes "Caro Mio Ben" bet- 
ter than any other single melody in his 
repertoire. Tom Mitchell, the melody 
man, prefers "Because." Irving Ken- 
nedy sings "Moon of My Delight" in 
his morning bath, and Gwynfi Jones, 
"Mighty Lak a Rose." Harold Peary 
lifts his baritone in "All Alone" when- 
ever he is asked to select a song, and 
Captain Bill Royle admits that the ditty 
he really enjoys singing is "The Bird 
in a Gilded Cage" — preferably under 
a running shower ~.o his wife can't hear 
it and protest. 

John P. Medbury, gagster and master 
of ceremonies, MJB Demi Tasse Revue, 
KGO, Monday, 7:00 to 7:30 P. M., was 
heard as guest star on the regular Ray- 
mond Paige "California Melodies" 
presentation, 9:00 to 9:30 P. M., over 
the CBS network. Medbury should be 
on the air at least three times weekly. 

Eva Gruninger, NBC contralto, who 
was the soloist at the inaugural cere- 
monies which dedicated San Francisco's 
War Memorial Opera House and Vet- 
erans Building, participated in the first 
opera to be heard from there — "La 
Tosca," on October 15th, and also sang 
Maddalena in "Rigoletto," October 20th, 
and Martha in "Faust" on October 27. 




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Denny's Debutantes 

(Continued from page 10) 

It was like a cool zephyr after a sand- 
storm. The surprising response which 
followed on the heels of this broadcast 
led to another series of national hook- 
ups. In a few weeks Denny was per- 
suaded to come to the states where he 
has made jazz history in New York, 
Boston, Washington and other great 
cities as well as over the air. Wherever 
Denny plays today, society jumps to its 
feet. At the Waldorf-Astoria where 
Denny has been a steady feature all 
year long, he has become a household 
word. Today there is hardly a person 
in the country who has not heard of 
Jack Denny. But very few people 
know that Denny had to wait a long, 
long time until he struck home. Such 
is the story of one who battl< 1 fate for 
a musical ideal. 

p 'it it paid. Whereas the scramble 
for refined rtluvic 1: - caught other or- 
stras flat-footed, Denny was ready 
for the new era. The dawn of Amer- 
ican jazz was breaking and he was not 
to be caught napping. Denny had stayed 
up too long waiting for the sunrise. 

Denny had every advantage on his 
side when the storm broke. His early 
musical background was classical and 
complete. What is more, he wrote his 
own orchestrations and was satisfied 

with only one result perfection. 

Just as in the world of the theater, 
Elmer Rice, Marc Connelly and George 
F. Kaufman hit the top as playwright- 
directors, Denny rose because he knew 
how to weave a musical theme around 
a violin or saxophone and at the same 
time was enough of a musician to bring 
out the best in his band. His person- 
ality is of the happy type which can 
find itself at home in any land and with 
any group. Time and time again he has 
been known to be approached by fig- 
ures high in society and politics while 
playing at some fashionable hotel. His 
latest achievement, "The Jack Denny 
Debutantes" is a natural outgrowth of 
his intimate and widespread society con- 
tacts. The social set in New York, 
Washington and Boston have taken him 
to their hearts like a long-lost brother 
which in truth he is. ■ A long lost mu- 
sical wanderer looking for a spot where 
lie might be accepted as an insider. To- 
day he has that. Not only this country 
but any of the capital cities of the Euro- 
pean nations would like nothing better 
than a few seasons of Denny music. 
But the Denny-zens of the Waldorf re- 
fuse to let him go. 

When he returned from the vaudeville 
tour covering Baltimore, Washington 
and other big cities, he opened on Oc- 
tober 29th at the Empire Room of the 
Waldorf-Astoria. This event was like 
old home week for Denny in New York. 

Words of Advice 

(Continued from page 25) 

there's no harm in following in the foot- 
steps of some leader whom you admire. 

Finally, let me say that when you are 
playing professionally, keep it always 
in mind that the public is your employ- 
er, and must be pleased. It is the public 
who pays their dollars into the hands 
of the man who pays- you, and the better 
your music, the greater your pay. 

Take part of every week's pay and 
put it aside to pay for special arrange- 
r .i -its and publicity. No matter how 
■ iring you are by nature, you will 
have to step into the spotlight sooner 
or later, and a well-directed publicity 
campaign may smooth your road to 
fame. Like any other business, you 
must advertise. And if you are the type 
who is an artist rather than a business 
man, hire a good business manager on 
a percentage basis. Not only can he 
secure engagements for you, but he will 
also take a great deal of routine work 
off your shoulders, enabling you to de- 
vote more of your time to your music. 

For this reason, if for no other, a 
leader must not shun the personal ap- 
pearance, even though modesty may 
lead you to prefer staying as much out 
of the public eye as possible. It is part 
of ones job as an orchestra, conductor 
to go where people congregate to listen 
to music — and to watch their reactions. 
Just as a doctor who wishes to succeed 
in his profession must continually study, 
in order to keep abreast of development 
so must the orchestra leader. Merely 
looking over the new songs as they are 
issued is not enough. The leader who 
wishes to serve the public the type of 
musical fare they crave requires sta- 
tistics on the popular reaction to vari- 
ous tempos under varing conditions. 

When an orchestra leader is analys- 
ing popular taste, he has to do more 
than merely figure the amount of ap- 
plause which follows each selection. He 
has to watch with an eagle eye, to see 
what tunes and what methods of play- 
ing them bring the most people to their 
feet with the irresistible urge to dance. 
More — he must watch the expression on 
people's faces, to see just how good a 
time they are having, and whether their 
animation increases when he plays. 

There is a lot more to a popular 
dance broadcast than meets the eye. 
The next time you hear that some or- 
chestra leader gets five thousand dollars 
a week for two or three fifteen minute 

programs, don't look at him enviously 
as you murmur "Pretty soft!" He's 
probably working eighteen or twenty 
hours a day to earn it. Yes — and some- 
times twenty-four ! 

(This is the second of a series of 
articles by Peter Van Steden. An- 
other, comparing radio orchestras with 
those which appear in person, will ap- 
pear next month.) 

Donald Novis 

(Continued from page 23) 

The long voyage finally ended at St. 
Johns, New Brunswick, but the trip was 
not yet over. We went ashore and 
Father took us sightseeing in a strange I 
land. There was my brother Edward, 
who was five years older than myself 
and Harold, who was three years my 

We boarded a strange looking train. 
It looked gigantic to me and Mother 
often reminded me that I cried when 
the hissing engine roared into the sta- 
tion and we clambered into the day 

Our ride was over after hours of 

Chapleau, a small town in the wild 
mining country of northern Ontario, 
was our destination. It looked pretty 
drab to Mother, I know, and she used 
to tell us she didn't know how she ever 
could adjust herself to the rigorous 
climate and the rough life. 

The town boasted some 500 souls, 
mostly miners and lumberjacks, but it 
was really an important outpost in the 
vast Canadian mining and lumber coun- 

Father soon set himself up in busi- 
ness and did a rushing trade. On Sun- 
days he sang in the Chapleau church 
choir and on the long winter nights en- 
tertained the citizenry of the snow- 
bound settlement with the songs of old 
Wales and far-away England. 

My impressions of those cold nights 
are still deeply etched in memory. Fa- 
ther sang in a low-ceilinged, log hall 
to the bearded, rough miners and wood 
choppers. As his clear, strong baritone 
rang out in the smoky, raftered room, 
the silence was profound. When he 
had finished pandemonium would break 
loose. If the song happened to be sen- 
timental, the quality of his voice and 
the manner in which he sang his song 
was so appealing, that many a home- 
sick laborer would be seen to brush 
away with a horny hand a stray tear 
or two. 

In such surroundings I began to grow 
up. One night Father lifted me to the 
platform in the smoky room and in my 
boyish soprano I sang a song of old 
England. I kept looking at Father and 
I could see that he was pleased, although 
the tears streamed down his kindly face. 
One day an Episcopal clergyman 
came to our house from far-off Cali- 
fornia. He heard Father sing and told 
him that if he ever wanted a singing 
position in his church he could have it. 

A few months later Father decided to 
accept the offer. He wrote to the man 
in Pasadena. A cordial letter urged 
him to go and we packed up our belong- 
ings. It was the third great jaunt of 
my career. First there was the voyage 
across the Atlantic, then the trans- 
Canadian ride to Chapleau and now this 
even longer journey to the romantic 
West and my first visit to the country 
that was to become my very own ! 

The years fled. Father established 
a comfortable business in Pasadena. 
Mother became interested in her concert 
piano work and my sister, Mary, born 
scon after our arrival, studied voice. 
My brother Edward was also interested 
in singing and Father was always sing- 
ing in church choirs and for special 

We all grew like potato sprouts. I 
was a normal, healthy youngster, in- 
terested in school sports. Baseball was 
my first love and at Thomas Jefferson 
grade school I was always playing base- 

When I got to Pasadena High School 
I played basketball and football with 
great enthusiasm and energy and some 
ability. I decided then and there that 
I would be an athlete and finally an 
athletic director. 

Then I went to Junior College at 
Pasadena and later attended Whittier 
College at Whittier. I played well 
enough, and I guess if I had finished 
school, I might have made a name for 
myself on the gridiron and on the bas- 
ketball floor. 

But something happened. One day 
at home Father heard me singing in 
the bath tub. 

He talked sternly. I must study, he 
said. I had a voice that was too good 
to be thrown away, he argued, and he 
didn't intend that I should do otherwise 
than develop it. 

What was I to do ? 

I wanted to be a teacher of physical 
education. I loved athletics and all that 
goes with it. 

But I heeded Father's advice. I'm 
glad now that I did. He died unex- 
pectedly at Hastings, England, this fall 
during a visit to the place of his birth. 
Mother also left us six months ago, and 
it was her secret ambition that I should 
become a successful concert singer. 

I studied voice eight years with Allen 
Ray Carpenter, mastered some French, 
German and Italian and have fulfilled, 
in some measure, my Father's hopes. 

In 1927 I won the California Atwater 
Kent Radio Auditions, but missed out 
in the national finals. The next year, 
1928, I was more successful and carried 
away the $5,000 prize. That was a 
thrill ! 

The rest is history. I made some- 
thing of a reputation on the Coast with 
the Cocoanut Grove Orchestra, ap- 
peared in numerous radio programs and 
sang in the pictures. 

When I received my chance to come 
East to sing for the NBC in New York 
somehow I couldn't resist. And I'm not 
sorry that I came. Everyone has been 
wonderful ! 

Mildred Bailey 

(Continued from page 22) 

Fame is like that. Shallow draughts 
intoxicate the brain, as Pope said, and 
deeper, deeper drinks are craved. Fame 
is like a narcotic, enslaving those who 
yearn for it. 

Yet the little girl I talked to that win- 
ter night, I myself, a hundred others 
who read this will not heed. Nor 
should they. Because they have been 
irmoculated deeply with the toxin of 
Stardust. They must climb the ladder 
or die in the attempt. They cannot be 

The little girl with the golden eyes 
had come from Kansas. Back home 
they had listened in open-mouthed won- 
der as she sang in the church choir, at 
high school class day, over the local 
station. Fame, fortune, glory waited 
her in New York. She would find 
Broadway paved with gold. She came. 
And found it paved with spikes and 
sharp splintered glass. 

She hadn't come to ask me whether 
she should give up her ambitions and 


go back home to school. She had come 
to ask me whether she should remain 
in New York, continue to haunt hope- 
lessly the offices of radio impresarios, 
or should she try a smaller town, some 
local station for a build up that would 
lead more deviously to New York. 
She didn't ask me the first question, 
because she had put one foot on the 
ladder to stardom, and she wouldn't 
stop until she reached the top. 

I told her to keep on trying in New 
York. Because I could look into her 
wide, young eyes and know she would 
get there someday. She would have to 
go on. She was that kind of a person. 

I gave her this advice. Forget every- 
thing in the world, money, friends, par- 
ents, sweetheart. Cleave only to thi> 
image of success before you. It may 
be a mirage ; it may be Heaven. Let 
every thought, every action, every 
dream you have center on this and this 
alone. Don't be swerved by love or 
even happiness. Let your mind be 
single-track. Think, eat, sleep, live only 
for success. Let not one thought pass 
through your mind that isn't tied up 
with this great goal you set before you. 

Be courageous, ambitious, determined, 
unsparing of yourself. Believe in your- 
self. Know you will succeed, and all 
the world will know it. Make your job 
a twenty-four hour task. Before you 
move your little finger, or brush a stray 
lock of hair from your forehead, stop 

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and think how it will further the one 
thing you live for — success on the air. 

Plan, plot, campaign day and night 
for success. On the road uphill never 
pass around a stone or walk over it. 
Turn it up and see what's underneath. 
Put it out of your way and then pro- 
ceed, soberly, deliberately, calculatingly. 

Stars have told me success was the 
reward of talent. Maybe it is. But 
you never know whether you really have 
talent or just think you have. If you 
have you'll reach the top. If you 
haven't you have a good chance to reach 
it anyway by plain homegrown, dogged, 
plodding persistence. 

After all the man who tried to sell 
lozenges might have a wife and a cou- 
ple of hungry babies home. Most rack- 
ets are tough. The kid who wanted 
soccer suits had come all the way from 
the end of Brooklyn, stood waiting an 
hour, all for the sake of his team. The 
song plugger didn't have an overcoat. 

Forty minutes later I stepped out on 
the street. A bitter, menacing wind 
whipped up Fifth Avenue. Instinctive- 
ly I pulled my fur collar closer. It 
would snow before morning. 

As I waited for a taxi I noticed her. 
Perhaps it was the shock of seeing her 
thin little shoulders so obviously shiver- 
ing under the poor coat, beside the show 
window of a French shop, rich with 
sequins, sables, ermine and velvet. Per- 
haps my attention was attracted by the 
way she kept hovering close to me, 
shyly fingering the roll of music in her 
hands, tearing tiny crumbs of the paper 
from the corner nervously. Perhaps it 
was the color of her golden brown eyes, 
all the more beautiful because they were 
wide and hurt and afraid. She couldn't 
have been more than seventeen. By the 
light from the show window I could see 
the child's eyes were fixed on me. 

Just as the taxi shouldered to the 
curb, she seemed to marshal her cour- 
age like a diver at the end. of a high 
board. She came up to me. 

"Miss Bailey, I know I haven't got 
any right to ask it. But — but it would 
mean so much if I could talk to you. 
Oh, just for a minute — " 

I was glad the taxi was warm. She 
sat on the edge of the seat, squirming 
the music roll around in her hands. She 
had a small, thin face, peaked from 
cold and hunger. Her child's mouth 
hadn't smiled in a long time. There 
was something in her eyes that made 
me think of a little street waif staring 
in at a show window crowded with ex- 
travagant Christmas toys. 

"I guess people are always bothering 
you," she began. "It's selfish and incon- 
siderate of them. But, somehow, it's a 
matter of life and death with me. New 
York is a strange place. Out in a 
jungle, or adrift at sea in a storm, a 
man will risk his life to save a stranger 
whose only kinship is a human tie. Yet 
on Broadway men saunter gaily into 

night clubs, spend — oh, more money 
than I've ever seen in all my life at one 
time — and outside, a beggar's life could 
be saved by a dollar. People in New 
York seem to live in close-shuttered uni- 
verses. You can't reach their hearts." 

I knew exactly what she meant. It 
has only been a few short years since I 
came from Spokane and found Broad- 
way hostile, cold and hard as the steel 
framework on its newest skyscraper. 
Starving paupers, surfeited plutocrats 
brushed against each other along this 
street of heartache and hilarity, raptures 
and requiems. Yet ( no spark of human 
kinship reached across the no man's 
land between them. 

The girl had come to ask my advice. 
I gave it to her. And now I'm passing 
it on to others. It wasn't what she 
wanted to hear perhaps. It is com- 
pounded of cheer and bitterness, delight 
and disappointment — my message to 
young people who stand at the bottom 
of the slippery steeple of radio success, 
determined to scale the heights or tobog- 
gan down to oblivion. 

My advice in one word is — Don't. If 
you can find happiness along the pleas- 
ant meadows of life, as a wife, as a 
mother, as a man %vho works at a plain, 
workaday job without raising his head 
to be blinded by the sun, you're much 
better off. The apple Eve ate on the 
Tree of Knowledge was the Apple of 
Ambition. And it isn't all sweet. If 
you can be satisfied with bread and but- 
ter, don't envy the gods their ambrosia. 
Because you may pay for it with your 
happiness and find it turns to ashes in 
your mouth. If the normal chance for 
happiness is one chance out of two, then 
the normal chance for happiness, if you 
seek stardom, is one chance in two 
thousand for only one out of a thou- 
sand reaches the top. 

In the veins of some people there 
burns an insatiable urge to be great, 
to do great things, whether it is sing- 
ing, writing, painting, play acting. 
They are like Icarus who built wings, 
tried to fly as high as the sun. The wax 
in his wings melted and Icarus was 
dashed to death on the rocks below. 
Those who can walk satisfied along the 
ground, without yearning for the sun, 
are more fortunate. The head that wears 
the crown lies uneasy, they say. It is 
true whether the crown is one of roy- 
alty, fame, art or success. 

The ache for achievement is not an 
unmitigated blessing. There is a fairy 
story of a fisherman who found a genii 
in the sea. He asked the genii to give 
him the power of the lord. After a 
few months he returned, recaptured the 
magic spirit, asked this time for the 
authority of a duke. Again and again 
he returned, never satisfied, begged to 
be made a king, then an emperor, then a 
pope ! At last the genii became dis- 
gusted and changed him back again to 
a fisherman. 



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1 Floyd Gibbons School of Broadcasting. 

Dept. 2S6I, U. S. Savings Bank Building, 
1 2000 14th Street, N. W.. Washington. D. C. 

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DEC 30 m?_ 




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Price $|00 

Complete, Postpaid 

Every Instrument Tested on 
Actual 1127 Mile Reception 

A Large Number Are In Use by 
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The F. & H. Capacity Aerial Eliminator 
has the capacity of the average 75-foot 
aerial, 50 feet high. It increases selectiv- 
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This instrument is for sale at all Gamble 
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— — — Send Coupon it protects you — — — 


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F. & H. Radio Laboratories 
Fargo, N. Dak., Dcpt. 32 

©C1B 176673 


Printed in U. S. A. 

Raymond Bill, Editor 

Harold P. Brown, 

Managing Editor 

Charles R. Tighe, 

Associate Editor 

Henry J. Wright, 

Advisory Editor 

Nellie Revell, 

Associate Editor 


COVER PORTRAIT, Ethelyn Holt, 
first line beauty at CBS. 

BLOOD WILL TELL. Authentic au- 
tobiography of the Prince of Pre- 

of Program Achievement. 

examined by "Voice of Radio Di- 

head of NBC Musical Department. 

OPERA AT HOME. Second season 
of Metropolitan Opera well re- 

SHOWBOAT, leads the way for the 
new era of radio variety. 

LEW WHITE. It's always New Year's 
at his famous organ studio. 

INCREDIBLE RIP. Globe-trotting 
with Robert L. Ripley. 

TITO NINO. Romantic career of this 
famous singer. 

ANDREA MARSH is a revelation as 
a "teen-singer." 

COWBILLIES— the "London made" 
cowboy-hillbillies make good. 


is who and what is what. 

story of one who knows from ex- 

EDITORIAL, hate trends of the past 
season reflected in the new. 

TUNEFUL TOPICS. Review of hits 
by Chief Connecticut Yankee. 

Charles Sheldon 
Baron Munchausen 7 


Nellie Revell 10 

Earle Ferris 1 2 

J . Vance Babb 14 

Miriam D. Light 16 

Mark Quest 18 

Richard Hyman 20 

Anne Cooley 2 1 

Hilda Cole 22 

Hal Tillotson 24 


Margaret Hastings 28 

Ray Bill 30 

Rudy Vallee 32 

-p ■ 

Published by Radio Digest- Publishing Corporation. Publication Office: 404 North Wesley 
Avenue, Mount Morris, III. Editorial and Advertising office: 420 Lexington Avenue, New 
York City. Phone Mohawk 4-1760. Radio Digest will not be held responsible for unsolicited 
manuscript or art received through the mail. All manuscripts submitted should be accom- 
panied by return postage. Advertising Representatives, R. G. Maxwell & Co., 420 Lexington 
Ave., New York City, and Mailers Bldg., Chicago. Western Manager, Scott Kingwill, 333 
North Michigan Ave., Chicago; telephone: State 1266. Pacific Coast Representative, W. L. 
Gleeson & Co., Ltd., Ray Bldg., Oakland; 303 Robert Dollar Building, San Francisco and 1116 
South Flower St., Los Angeles, Calif. Member Audit Bureau of Circulation. 

Radio Digest. Volume XXIX, No. 6. January. 1933/ Published monthly nine months of the year and bi-monthly 
In July and August and September and October, for Radio Digest Publishing Corporation, 420 Lexington Ave., 
New York City. Subscription rates yearly, $1.50 in U. S. A.; Foreign, $3.00; Canada. $2.25; Single copies, 15c. 
Entered as second-class matter October 19, 1932, at the post office at Mt. Morris, Illinois, under the act 
of March 3, 1879. Title Reg. U. S. Patent Office and Canada. Copyrighted, 1932, by Kadio Digest Pub- 
lishing Corporation. All rights reserved. President, Raymond Bill; Vice-President, J. B. Spillane, Randolph 
Brown. C. R. Tighe; Treasurer. Edward Lyman Bill; Secretary, L. J. Tompkins. Published in association with 
Edward Lyman Bill, Inc., and Federated Publications, Inc. 

t I will train you 
j% at home 

to fill a 

Made $10,000 More 
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Washington, D. C. 

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City Slali 

7wiSTS and 7lJRNS 

With Radio People and Programs 

By Harold P. Brown 

NEWSPAPER men are flocking 
more and more to the micro- 
phone. It may be an indica- 
tion that a better understand- 
ing between newspapers and radio will 
result. Practically all newspaper men 
who have been on the air have made 
good with their listeners. Some have 
not only made good with their listeners 
but have made good with the exchequer, 
collecting handsomely from appreciative 

Floyd Gibbons, with the Hearst or- 
ganization, has from the start com- 
manded a very high salary for broad- 
casting as compared to what the aver- 
age star reporter earns. He has also 
put tremendous energy into getting his 
material as well as putting it on the air. 
Heywood Broun who has been conduct- 
ing a General Electric period over the 
NBC is of a far different type of news- 
paper man. Both men, so radically dif- 
ferent in manner of speech, make 
friends easily. Both have been em- 
ployed by the same sponsor. Both have 
increased their prestige enormously by 
their radio programs. 

ANOTHER newspaper man of a 
„ sort radically different from either 
Gibbons or Broun has made good in a 
large way — and he is that master slogan- 
eer, Walter Winchell. Winchell creates 
new words and expressions every day, 
and these words and expressions soon 
become part of the language. He was 
the first to use the word ""whoopee" and 
to exploit the phrase "blessed event." 
On the air he originated the call "Okay, 
Mr. and Mrs. America!" He lives at 
a killing pace. He finds out the news 
and publishes or broadcasts it before it 
happens. His so-called keyhole exploits 
have become legends and dramatized in 


Just Fix a Pix In the aerial 
terminal and increase the 
range and selectivity — 
permits knife-edge 
tuning — t w o mil- 
lion satisfied 
users. Once 
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Cuts out others. 
^ Attached by any- 
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,. Send money or postal 
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154 Nasnau St., N. Y. C. 



film. As these lines are written he is 
talking on the phone to a representative 
of Radio Digest about his new program 
on the air. The night before he had 
fainted on the sidewalk, was taken home 
in a cab, revived, and returned to his 
all-night patrol of Broadway within an 
hour. A few months ago he told this 
writer that he was through with broad- 
casting because he could not keep up 
the pace of writing his column and do- 
ing two columns a week on the air. 
"Besides," he said, "what's the use if 
Uncle Sam takes half of it away for 
income tax. I couldn't keep up the pace 
and live." He went to California for 
a few weeks, returned, and now he is 
into his job almost as deeply as ever. 
He has surrounded himself with a sort 
of glamour that makes him a good air 

DEAN ARCHER'S educational 
talks, a series of which appeared 
in Radio Digest a year ago, have inter- 
ested several prospective sponsors, and 
why not? The Dean certainly has a 
large following, and he knows how to 
put human interest into his discussions 
about the law. He is constantly active, 
directing the Suffolk Law School in 
Boston, preparing lectures, sitting in 
conferences with lawyers, statesmen, in- 
dustrialists, and still he has time to write 
law books, and for* idle moments he 
writes history books for children. He 
broadcasts over 40 stations on an NBC- 
WJZ network every Saturday evening. 

HAD a little chat with Rudy Vallee 
the other evening and he's happy 
over the success of his personality shows 
which take the air every Thursday from 
the NBC Times Square studios, former- 
ly the Amsterdam Roof Garden. The 
theatre is packed at every performance 
given for the radio audience. It seems 
a little strange to witness a show at this 
theatre where the visible audience al- 
ways is secondary (and rightfully, of 
course) to the radio audience. About 
800 people sit in the theatre. So far 
as the broadcast is concerned they are 
all part of the show, and the entire audi- 
torium is only an extension of the air 
stage. Rudy, alert and agile, moves 
quickly here and there getting every- 
body in place and in order as he steps 
over the coils of cable leading to the 

Heywood Broun 

WINTER that is unbelievably bleak 
and cold has already settled down 
on the small trading hamlet of Hope- 
dale on the far coast of Labrador. There 
are only thirteen English-speaking per- 
sons present. They are cut off from the 
rest of the world by vast expanse of ice 
and impassable terrain. Cut off? No, 
not entirely, for they are able to hear 
the voices of Radioland that whirl 
around the sphere through the long, 
long Arctic night. 

A message recently received by the 
National Broadcasting Company for the 
Flying Hutchinsons states that these 
prisoners of the ice-locked North are 
at their community receiver listening to 
this Flying Family which came down 
to them from out of the sky in actual 
flesh and blood just before the harbor 
closed. The wireless message to New 
York was sent by the Rev. Perrett, head 
of the Hopedale Moravian Mission. 
Signing the message with the Rev. Per- 
rett were the names of Mr. Cobb, the 
manager of the Hudson Bay Company 
trading post, and Mr. Stevenson, the op- 
erator of the Marconi wireless station. 
They all expressed great interest in the 
program. Even the Eskimos crowd 
around to hear the voices of the ad- 
venturers who were in Hopedale when 
the plane crashed in their vicinity. 

Others in the far and impenetrable 
North are also listening to the sounds 
that come from radio stations where 
there are cities and roads and trains, 
and where there is music and gaiety. 
As usual the Westinghouse company is 
sending messages through its powerful 
stations to winter bound citizens who 
live buried in the woods and snow. Es- 
pecially at Christmas time come the 
loved ones to the broadcasting stations 
to speak into the microphones or to have 
their messages read. 



Pull aside the curtain of secrecy 
and watch the wheels go around 

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DIGEST, the oldest and greatest of all radio fan magazines, real- 
ized the need for a publication that considered the professional 
phases of radio — 

Radio Art 
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Gives you intelligent reviews of new programs and other infor- 
mation relative to program production — from the writing of 
scripts until the "play" goes on the air. 

Radio Art — Gives you the latest information about the artists and radio 
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Radio Art — The magazine you can't afford to be without if you are interest- 
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Radio Art — The magazine that is read by artists, station operators, radio 
writers, advertising and show people because it tells them twice 
each month the important and vital news about radio printed 
in this publication alone. 

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Baron Munchausen jackPeari 

(Photo taken at sea bottom) 

HERE you behold the remarkable 
under-water picture taken of 
the great Baron Munchausen at 
the time he was working the Atlantic 
ocean as a pirate. He has just stepped 
into the saloon of a Spanish galleon 
which has been resting on the bottom 
of the ocean for well-nigh a thousand 
years. The Munchausen boot rests on 
a sold gold tabaret that had been the 
gift of Isabel to the captain of the ship. 
Note how closely the Baron closes his 
lips. That is to prevent the water leak- 
ing in while the picture was taken. He 
has remarkable capacity for holding his 
breath, but he nearly gave up after he 
lost his way walking back to the island 
from whence he had walked into the sea. 



in Je 


The Rise of a Tall Taler 

By Baron Munchausen 

a modest lot. But if 
you insist I shall en- 
deavor to recall some 
biographical incidents that may be of 
interest to the readers of Radio 
Digest. Contrary to the popular no- 
tion as to the place of my birth it 
happens that I first saw the light of 
day in little Old New York. It was 
in October, 1895, a snappy autumn 
day, although of course I did not get 
out much that first day, owing to the 
many calls by relatives and friends 
who seemed to take a great deal of 
interest in my arrival. I remember 
well, the exact day, as there was a 
large calendar advertising sewing ma- 
chines pinned against the wall across 
from my bed. (My mother shared 
the bed with me.) And as I pulled 
myself up on the pillow my father 
was crossing out the date. It was the 
29th day of October. 

"That's a day you'll always remem- 
ber, son," he said. 

"Oh, yeah?" I said, and the old man 
fainted. Mother was asleep so I 
called the nurse and she poured some 
ice water in his face. I laughed, and 
then she fainted too, so I got out and 
drenched them both. 

You will gather that I was indeed 
precocious, but it runs that way in 
the Munchausen line and my father 
began showing me off to the neigh- 
bors. In a few days I was exchang- 
ing repartee with the best of them. 

When I was one year old I was 
half way through Public School No. 
62, which was about a mile from the 
house. My father had a very small 
bicycle made for me. I rigged up a 
piece of grocery string which I hung 
over the handle bars. It was one of 
my favorite tricks to tag on a kiddie 
car when I came to a hill and make 
the little dumb brats of two or three 
years old pull me up the hills. 

On my second birthday I graduated 
from the De Witt Clinton high school 
with a perfect record. By this time 
my physique grew at an incredible 
rate. It was almost impossible to 
keep me decently clothed, for I 
would start from the house in the 
morning with a new suit, a size larger 

than the one I had worn the day be- 
fore, and by night it was ripped and 
abbreviated beyond further use. My 
father had to hire a special tailor to 
follow me around until it occurred to 
him to make my trousers, waist and 
other clothes of elastic. 

I'll never forget my first employ- 
ment. We Munchausen's were living 
under a different name at the time 
owing to the fact that my father was 
working a shell racket that he had 
invented. He would use a couple of 
peas and a Fleeceworth pearl in a 
quick shift under three oyster shells. 
You paid a dollar for your chance 
and if you were lucky at guessing you 
could have the "$100 pearl," which 
really cost my father 100 for a dollar. 
Well they got to calling us the Pearls, 
and I was Jack, Jack Pearl. 


Y FIRST job was 
with the Shapiro Publishing Com- 
pany which at that time published 
everything. I had acquired such a 
passion for reading by the time I 
was three years old I could not wait 
for new books to be published — in 
fact I had read practically everything 
that was printed, and used to hang 
around Shapiros' waiting for things 
to come off the press. One day the 
manager offered me a job of reading 
all the manuscripts that came into the 
place. It was in this way that I 
picked up my Broadway acquaint- 
ances who waited my approval of all 
the songs that were going to be hits. 

Although I had never been on the 
stage Gus Edwards begged me to 
take a job from him at $1,200 a week. 
I turned it down. I turned it down 
cold. I said "Give me $1,500 or I 
don't go, see?" And Gus said, "Gee, 
Jack, if I pay you $1,500 I'll have to 
let Winchell, Eddie Buzzell, Georgie 
Jessel, Eddie Cantor, and maybe the 
Duncan Sisters go, you wouldn't do 
that to the Duncan Sisters, would 
you?" And I said to Gus, "That's 
your look-out, Gus. My price is still 
$1,500 a week." And poor old Gus, 
with tears streaming down his face, 
turned and left me. 

So I passed my time away at the 

Shapiro's where they had raised me 
to $2,500 a week just to look at scripts 
as they came in. I guess I haven't 
mentioned that I was the one who 
started them in the music publishing 
business. Before I went there they 
were doing an enormous business in 
publishing books of all kinds. I read 
in the paper about Marconi, which 
gave me an idea, and I went over to 
see Edison about making a radio tube 
which nobody had thought of up to 
that time. Well, Edison puttered 
around with my idea, and I got into 
other things and the next I knew 
DeForest had come out with his radio 
tube, so I washed my hands of it. 

Because of my youth it was a little 
hard to get the attention of people 
for anything serious. However, by 
pretending that I was considerably 
older, I inveigled Herman Timberg 
to give me a part in his stage produc- 
tion, "School Days." It was the char- 
acter of a boy with dime novel and 
Wild West ideas. I wowed them and 
put the show over as the biggest 
tiling old Timberg ever had his name 
to. There used to be a line waiting 
to get in wherever I was playing that 
started the day before. One severely 
cold night stands out in my memory. 
The next morning found 1,743 per- 
sons waiting to get to the box office 
who had frozen stiff in their tracks. 

This caused me to consider giving 
up the show business. But I was 
finally induced to join Danny Murphy 
who had established quite a rep as a 
German dialect comedian. Before we 
had been going long I was taking his 
place and the show immediately be- 
came a great success. I took it to 
London, Paris, Berlin, St. Peters- 
burgh, Rome — everywhere it was the 
same — Jack Pearl, he kills them; they 
die from laughing. 

It was while I was in Moscow that 
the Shuberts. who had been following 
me around from country to country. 
brought my contract for $1,300,000 
and I came back to America to star 
in their Winter Garden shows eacli 
year until 1930. It was there that 1 
trained Harry Richman and made 
him what he is today. Ziegfeld was 
(Continued on page 48) 

Feodor Chaliapin, one of the rarely 
heard stars of the opera appearing on this 
remarkable Five Star Theatre program. 

TO THE Five Star Theatre goes 
the palm for the supreme radio 
achievement of 1932 — and that 
also means of all time — so far 
as broadcast entertainment is concerned. 
No previous sponsor has presumed 
to cover the entire listener field so thor- 
oughly and painstakingly. It is the final 
answer to the question of "What kind of 
an audience do you reach with that kind 
of a program?" It reaches every kind 
of an audience. From the sublime to 
the sublimely ridiculous the whole cate- 
gory of fun, amusement, soul stimulant 
and cultural development have been ap- 
proached through an assortment of per- 
sonalities and productions that are first 
magnitude stars for the five nights 
weekly on the two major networks over 
which this series is booked. 

Maxwell House Showboat pioneered 
the way as a major production along 
the great variety avenue. Lucky Strike, 
now a little old fashioned, and a bit 
crude in the commercial aspects, also 
lent something to the idea with its police 
dramas and flashing changes via the 
■Magic Carpet. The police dramas, in 
fact, percipitated the whole new popu- 
lar trend toward radio drama. They 



brought out new technique in script 
writing and sound effects. It also hap- 
pens that the creator of this technique, 
D. Thomas Curtin, has been engaged to 
write the thrillers that come on the 
Five Star Friday night climax of the 
five-day series. He is transcribing the 

Maria Jeritza, former Metropolitan Opera 
star, one of the scheduled features. 

Earl Derr Biggers' novel of the Chinese 
detective, Charlie Chan, into radio 

It is hard to imagine a taste that 
would not find something to its liking in 
at least one of the great variety of 
broadcasts included in the Five Star 
Theatre. Every evening from Monday 
to Friday it is on the air, every evening 
with a different style of diversion. 

While other advertisers present a sin- 
gle program, hoping that it will gather 
an audience, the supporters of the Five 
Star Theatre have tried to make sure 
that every owner of a radio set will find 

attractions of both a particular and gen- 
eral interest during a week's presenta- 

For those interested in comedy, there 
are the Marx Brothers, on the air over 
a WJZ-NBC chain at 7:30 P. M. every 
Monday in a chapter of their latest non- 
sensical conception, the law firm of 
"Beagle, Shyster & Beagle." 

Lovers of serious symphonic music 
have their turn Tuesday night in the 
programs of Josef Bonime and his 40- 
piece symphony orchestra, assembled 
from the ranks of the leading symphonic 
organizations of the world. Its soloists 
have included such dominant figures of 
the operatic world as Maria Jeritza, 
Feodor Chaliapin, and John Charles 
Thomas. These programs come from a 
Columbia network every Tuesday at 
10 P. M. 

The drama is represented in the 

Ben Ames Williams, distinguished Satur- 
day Evening Post story writer who ap- 
peared in person with dramatization of one 
of his stories. 


Wednesday broadcasts. Short stories 
by leading American authors are dram- 
atized and presented by a company of 
celebrated stage and radio players over 
a WJZ-NBC network at 7:30 P. M. 
every Wednesday. Each week, the 
author of the story of the evening steps 
before the microphone for a personal 

Light music comes on Thursday eve- 
ning in the light opera presentations un- 
der the direction of Milton Aborn. His 
company is heard from a Columbia net- 
work every Thursday at 10 P. M. 

The week's series comes to an excit- 
ing conclusion every Friday evening 
with an episode from the engrossing and 
mysterious career of Charlie Chan, the 
Chinese detective of fiction. Imperson- 
ated by Walter Connolly, the Broadway 
star, Charlie Chan goes on the air over 
a WJZ-NBC network Fridays at 7:30 
P. M. 

From the moment of their first ap- 
pearance at the WJZ headquarters, the 
Marx Brothers have been turning a 
studio into hilarious chaos on every one 
of their rehearsal days. These pro- 
grams are their first radio appearances, 
but even a debut before the formidable 
microphones did not sober the prankish 
Marx spirits. 

While Groucho was running through 
the very important first sketch, he no- 
ticed Arthur Sheekman, one of the au- 
thors of "Beagle, Shyster & Beagle," 
come into the room. In the midst of 
one of his speeches, the astonished ears 
of the men in the control room heard, 
"This goes for Art Sheekman — you 
whimpering bounder, you." 

Sophie Kerr, another Five Star Theatre 
celebrity, introduced to the radio audience. 

The broadcasts present Groucho 
Marx as Mr. Beagle of "Beagle, Shyster 
& Beagle," and Chico as his blundering 
assistant, Ravelli. Every week there is a 

Groucho and Chico Marx who made their first bow to the radio audience on the first 
performance of the galaxy programs. 

new example of the astounding amount 
of foolishness that has lain hidden in 
the law profession during all the cen- 

Josef Bonime, who leads the symphony 

orchestra as one of the classical features 

over the CBS fork of the series. 

turies before the Marx Brothers en- 
tered it. 

A more sedate atmosphere, of course, 
accompanies the programs of Josef 
Bonime's Symphony orchestra. Mr. 
Bonime's name is a familiar one to 
radio listeners. Since the early days of 
symphonic radio broadcasts, the baton 
of this director has been guiding orches- 
tras and smaller ensembles through pro- 
grams. His latest orchestra, however, 
is the most imposing he has directed. 

One of the rehearsal kibitzers who 
happened to have a pencil with him cal- 
culated that there were just about a mil- 
lion dollars worth of orchestral instru- 

ments in the Bonime broadcasts. The 
estimate was surprisingly large, but it 
is approximately correct. For example, 
nearly every one of the violinists uses 
either a Stradivarius or Guarnerius in- 
strument, with an average value of 

The chair of the concertmaster in 
this orchestra is shared by Jacques Gor- 
don and Michael Gusikoff, who for- 
merly occupied the same position in, re- 
spectively, the Chicago and Philadelphia 
Symphony orchestras. 

Probably no other radio program ever 
has been graced with such a set of lit- 
erary notables as the Wednesday short 
story dramatizations are presenting. In 
the first three weeks, the authors were 
Rex Beach, Fannie Hurst and Sophie 
Kerr. It is announced that the pro- 
grams will continue through the season 
with writers of the same standing. 

The Milton Aborn light operas bring 
to culmination a project that has been 
begun several times. Mr. Aborn's long 
career in both grand opera and operetta 
staging made him an obvious choice as 
the director of a light opera radio pro- 
gram. Repeatedly he has begun work 
on such a program, but in every in- 
stance he has withdrawn because he felt 
that the works were not being presented 
in a manner that would do them justice. 
This time he has been given a free hand. 

Mr. Aborn has assembled a company 
including Gladys Baxter and Vivian 
Hart, sopranos ; Roy Cropper, tenor ; 
Edward Nell, baritone: and William 
Philbrick and Hal Forde, comedian- : 
H. Cooper Cliffe, James S. Murray. 
Eric Titus and Laura Ferguson. The 
versions of the light operas were pre- 
pared by Mr. Aborn himself, permitting 
of their presentation without the inter- 
ruption of announcers. The orchestra 
conductor is Louis Kroll. 

The programs began December 1 
with "The Merry Widow" and con- 
tinued through the month with "The 
(Continued on page 47) 


V^(ellie c Revell Interviews 


HOWDY, foks, you remember 
me, don't you? Well, I sure 
am thrilled tonight. I have 
an old friend of mine, and 
yours, too, who is here with us tonight. 
While it has been my privilege to pre- 
sent on this program celebrities of vari- 
ous types, this is the first time I have 
ever presented a gangster . . . that is, a 
convicted gangster. Maybe I may have 
had some potential gangsters, but to- 
night I have a famous gang organizer 
and law-breaker. He's the type of 
gangster that steals into our hearts, 
kills dull care and breaks every law of 

And, like Robin Hood, of legend, he 
is famed for his courage, courtesy and 
generosity . . . doing it all in the name 
of humanity. It was he who made gangs 
famous. I refer to Roxy, the greatest 
gang leader of all time. Roxy, you will 
recall, is the man who developed the 
motion picture theatre from the peep 
show to a presentation in a palace. 

He is the originator of the luxurious 
type of music and stage presentation in 
moving picture theatres. He is the 
High Priest in the Cathedral of Enter- 
tainment. And Roxy is also a pioneer 
in radio. He was the first theatre direc- 
tor to interest himself in air entertain- 
ment . . . and the first to broadcast 
programs from the stage of a theatre. 
Roxy put his theatres on the air and 
thus on the map. And that's better 
than putting them on the market. 

Roxy's first venture with the movies 
was in the Pennsylvania coal fields. 
The customers sat on funeral chairs bor- 
rowed from a friendly undertaker. 
(When there was a funeral, there was 
no show . . . and Roxy was the chief 
mourner.) Six years later, Roxy first 
came to New York to manage the Re- 
gent theatre and introduced innovations 
which revolutionized show business. In 
succession, he went to the Strand, 
Rialto, Rivoli, Capitol, and Roxy's thea- 
tres . . . winning great glories and es- 
tablishing world fame for himself. 

Roxy's present position is the biggest 
of his brilliant career. He is the abso- 
lute czar in charge of the entertainment 
that is to be presented in the two thea- 
tres in the gigantic Radio City develop- 
ment. A son of the soil of America, 

TTERE is a stenographic report of 
■*■ -*■ Nellie Revell's interview with S. F. 
"Roxy" Rothafel during the Radio Di- 
gest period over NBC-WEAF. With- 
out overdoing the Question and Answer 
detail Miss Revell presents an excellent 
word sketch of the man who had most 
to do with shaping radio broadcasting 
into the show presentation it is today. 

Roxy is a simple soul. He hates osten- 
tation and loves to cut through to the 
fundamentals, the root of things. Com- 
ing from way out West where men are 
men and women are for them, he didn't 
select a high falutin' term to describe 
his group of artists and entertainers. 
Not Roxy. He fixed on a word that all 
Americans know and understand . . . 
Gang. And what a gang ! 

Mr. Rothafel has discovered and de- 
veloped, possibly, more talent than any 
other movie impresario. Every orches- 
tra leader who ever conducted in a Roxy 
theatre has become internationally 
known . . . and the members of Roxy's 
gangs have become stars. 

And, please, may I present S. L. 
Rothafel . . . who in my humble opin- 
ion is the greatest showman in Amer- 
ica ! 

ROXY "Now, now, Nellie. Good 

evening, friends, I hope you haven't 
taken too seriously that effulgent intro- 
press agents are never hampered by 
duction of Miss Revell's. You know, 
Nellie is a press agent and you know 
facts. But that opening part of the in- 
troduction kind of had me scared. I 
expected every minute to see a sheriff 
come in with a pair of handcuffs." 

NELLIE Well, the evening's still 


ROXY "But really, friends, you 

haven't any idea how glad I am to be 
back on the air. The late Professor 
Hugo Munsterberg, of Harvard, emi- 
nent psychologist, once did me the honor 
of calling me a natural psychologist. 
It was back in 1914. I was then direct- 
ing the Strand theatre on Broadway. 
One afternoon about 6:30, Prof. Mun- 
sterberg, a stranger to me, came into my 
back-stage office. lie had come to the 

theatre for the same reason that all peo- 
ple come — -for amusement, rest and 
relaxation. He got what he came for 
and wanted to know how the wheels 
back stage, mental and emotional, went 
around. He talked for a long time, for- 
getting food, hours and appointments. 
He was interested in me, he explained, 
because he was studying in theory, the 
mass mind and mass emotions, the same 
problems I was working out uncon- 
sciously in the laboratory of the stage. 
People go to the theatre with nothing 
more definite in mind than that they 
want to be amused. They want to be 
entertained and emotionally awakened 
without being emotionally exhausted. 
They do not go to be uplifted, reformed 
or converted. That is the province of 
the lecture hall and the church, and 
not the theatre. American theatre- 
goers will not support mediocrity. They 
will not accept shoddiness. They will 
not be talked down to, they will not be 
uplifted. They are very much aware of 
themselves and their time and they de- 
mand entertainment as splendid as their 

NELLIE How did you get the 

nickname, Roxy? 

ROXY "I got that years ago while 

playing baseball. Rothafel was too long 
for my baseball pals, especially in the 
excitement of a game. One day I was 
rounding third base and started home. 
* * 'Slide Roxy, slide!' shouted the 
coach, and I've been Roxy ever since." 

NELLIE And sliding home ever 

since too. * * Are you superstitious ? 

ROXY "Well, not exactly, but I 

like to begin my ventures on a Friday." 

NELLIE How about food? Any 

favorite dishes ? 

ROXY "Hot dogs and hambergers 

are my favorites." 

NELLIE How about sports? Do 

you get any time to play? 

ROXY "Yes, indeed. I play golf 

and hand ball whenever I can." 

NELLIE Married, of course. 

ROXY "Very happily married, 

thank you. And have been since 1909 
when Rosa Freedman honored me by 
becoming Mrs. Roxy." 

NELLIE Any children ? 

ROXY "Yes, a son, Arthur, aged 


21, and a daughter, Beta, now nearly 

NELLIE Your "Good night, pleas- 
ant dreams, God bless you" on the radio 
became a household expression. And 
I've heard any number of stories — all 
different — explaining its origin. What 
is the real story, Mr. Rothaf el ? 

ROXY- "Well, Nellie, it was really 

an accident. I used it in my first broad- 
cast from the Capitol theatre in 1924. 
I had prepared a fine sounding closing 
address to sign off the program. But 
when the time came to deliver, I couldn't 
recall a word of it — not a syllable. Of 
course, I couldn't stand there tongue- 
tied, so I said what I felt, 'Good night, 
pleasant dreams, God bless you.' 

NELLIE And coming from the 

heart you couldn't have said anything 
better. You know, folks, Roxy is the 
typical executive, a man of quick deci- 
sions. I asked him for an appointment. 
"Okay," he said, "I'll see you at 3 
o'clock Thursday." He met me right on 
the second in the reception room of his 
elaborate offices, to escort me to his 
private sanctorium. 

A huge oil painting of the late B. F. 
Keith, founder of vaudeville, looks down 
from the walls of his office. I paused 
before it in reflection. 

"Well, Nellie," remarked Roxy, 

Roxy as he appears while being interviewed 

"when I first knew you, I never ex- 
pected that I would occupy the office 
of B. F. Keith." 

"Why not?" I said, "you began where 
he left off." 

Roxy does everything on a big scale 
and he has to have a lot of room in 
which to operate. That's why he is to 
conduct in Radio City the biggest 
amusement enterprise the world has 
ever known. Why, Roxy, just naturally 
has to produce and be where things are 
produced. He even selected as his 
birthplace, Minnesota, a place of wide 
open spaces where they produce wheat, 
the staff of life. 

You know, folks, most men would 
be lucky if they got a monument after 
they're gone. But Roxy . . . well, his 
monuments are built while lie's alive. 
If you don't think the Roxy influence 
is a factor in the life of the city, the 
nation and the world, it's because you 
don't get around much. Take a peek 
at the New York Telephone Directory, 
for instance. There are Roxy Coffee 
Shops and even a Roxy Doughnut 
Shoppe. There are Roxy barber shops, 
Roxy shoe shining parlors and, of 
course, Roxy restaurants and deli- 
catessen stores galore. There are Roxy 
pants pressers and there is even a Roxy 
Button Works — everything, in fact, ex- 

cept the Roxy Readymade Post Hole 
Co. And when you get in the neighbor- 
hood of the Sixth avenue side of Radio 
City where are located the Roxy thea- 
tres . . . just take a look at the signs 
you see on the shops and stores. The 
merchants and shopkeepers in that lo- 
cality are certainly Roxy-minded. 

Here's a splendid insight into the fine 
character of the man. Having been a 
Marine, his interest in the service and 
service men is sincere and heartfelt. 
He took his company entertainers to 
the government hospitals on frequent 
occasions. He noticed they had no 
radios and the thought occurred that the 
long hours of our unfortunates could 
be made less dreary if they had ear 
phones. So he went to Washington 
with his idea and told it to President 
Coolidge. The President listened and 
then made one of his characteristic long- 
winded speeches. (You know how col- 
loquial Cal is.) "I like it," he said, and 
it wasn't long before earphones were 
installed in every veterans' hospital in 
America . . . and many parts of Cana- 
da. All of Roxy's dreams have a way of 
coming true, but this was one of the 
greatest of them all. It brought groat 
joy to our war heroes, than whom there 
are no greater. Goodnight. Friends. 

JUST a half an hour after we had 
heard Toscanini conduct the New 
York Philharmonic orchestra in 
Brahms' Third Symphony at Car- 
negie Hall, Frank Black and I were 
seated in the living room of his home 
in Sutton place, New York city. 

Black, general musical director of the 
National Broadcasting Company, walked 
to a phonograph, placed a record on the 
turntable and started the machine. I 
heard the strains of an old jazz tune I 
recognized as "The Washboard Blues." 
The hand which was playing it sounded 
hot. I was amazed. 

When the record ended, Black said, 
"That's a record made by Red Nichols 
and his Five Pennies, a jazz band. And 
yet it is a> great a work of art in its 
own field as the playing of the Brahms 
symphony this afternoon — because it is 
well done." 

A hit unusual? Most real or psuedo- 


intellectuals and highbrow music lovers 
who would orally express their appre- 
ciation of the classics would rarely think 
of mentioning a jazz band's work in 
the same breath. But Frank Black 
would. For he's the type of person who 
can appreciate musical art, no matter 
what its guise, no matter what its limi- 
tations without placing any on his own 
mental viewpoint. And that's also prob- 
ably why Frank Black as an orchestra 
director has been chosen to direct or- 
chestras on some of radio's greatest pro- 
grams which might play either popular 
jazz or serious music of a difficult na- 
ture and why he is able to do a great 
job with both. 

Black is a keen student of human ap- 
preciation. No prospective sponsor has 
to tell him that for every hundred peo- 
ple who will like dance music only ten 
will like something by Mozart. He 
knows and he speaks with authority. 

The New NBC 


By Earle Ferris 

Early in his career in the public eye 
Black realized that it was necessary to 
give the people what they wanted. 
From the time when he played the 
piano in a murky nickeloden at the age 
of eleven, Black has been studying audi- 
ence reaction along with his music. The 
two have combined to make him the man 
who is now general musical director for 
the National Broadcasting Company. 

Ever since he was a small boy, the 
unusual in music has interested him. 
They tell a rather amusing story about 
the time when he was musical director 
at Brunswick. A song plugger brought 
in a sheaf of songs to submit to him 
for possible recording use. Black 
looked them over and none of them 
fitted his needs. The song publisher's 
representative' had a manuscript copy in 
his brief case and Black asked to see it. 

"Oh, that's no good," said the song 
plugger, "some of the boys wrote it but 
they wrote 47 bars instead of the regu- 
lar 32." 

"Yes?" queried Black. "Leave it 
with me." 

The publisher's man was reluctant. 
"Don't make a record of that thing," he 
pleaded. "I'd get bawled out by the 
boss. It isn't regular and it would be 
difficult to publish." 

Black kept it. He liked it. He played 
it over for some singers. They liked 
it. The next time the publisher's man 
dropped in, Black let him hear it sung 
by Franklin Baur, played by three dif- 
ferent bands. He had recorded it four 
times. The publisher was amazed. 
But the song sold almost a million 
copies. It was "Just a Memory" by De 
Sylva, Brown and Henderson. If it 
had not appealed to Black as "some- 
thing different," it would have wound 
up in a waste basket. 

Black makes up his own mind. A 
sponsor for a program wanted a 
singer, so Black picked one. But the 
sponsor had been listening to claims of 
greatness made by a dozen agents. So 
he and his cohorts listened to 30 other 
singers. After he finished hearing 

(Continued on page 47) 


Jean Noble 



went to California 
new partner on KFI 

EMEMBER Helene Handin and Marcella Shields, the "Two Troup- 
on NBC, New York? . . . And Marcella married . . . Helene 
She found this beautiful girl, Jean Noble, for a 
. And let this be a warning to all men — 

Sir, don't be mean 
And intervene 
Or come between 
Our friend, Helene 
And her friend, Jean. 

Rosa Ponselle, American-born prima donna, 
and universal favorite of the Metropolitan 
Opera. She also is well known in Europe. 

TODAY the high, semi-circular 
balconies of the Metropolitan 
Opera House embrace the 
country from New York to 
San Francisco. Tuxedo Park, Mo., and 
Newport, Ark., sit in the Golden Horse- 
shoe. Metropolitan Opera has become 
the regular fare of the radio public 
throughout the land. 

When the nation's leading opera 
company went on the air for the first 
time in its history on Christmas Day, 
1931, over a nationwide network of the 
National Broadcasting Company, there 
was some question as to whether or 
not the plan would prove a success. 

Today all doubt has been removed. 
After a year's experience, M. H. Ayles- 


worth, president of NBC, and the offi- 
cials of the Metropolitan Opera Com- 
pany, have enthusiastically commenced 
the second season of broadcasts from 
the Metropolitan Opera House. Dur- 
ing the coming winter regular Saturday 
afternoon programs, supplemented by 
holiday and special occasion broadcasts, 
will bring portions of every opera in 
the Metropolitan repertory to the radio 

Lily Pons's clear soprano, Lawrence 
Tibbett's brilliant performances, the 
mighty music of Wagner's "Ring," and 
the voices of Ponselle, Bori, Ljungberg, 
Kappel, Rethberg, Martinelli, Scotti, 
and de Luca in the world's greatest 
musical masterpieces, previously the 
fare of a few favored persons in the 
country's largest cities, are now avail- 
able to all, just as much as the doings 
of Amos 'n' Andy, the songs of Rudy 
Vallee and Ed Wynn's stories about 
his horse. 

Metropolitan opera came to the home- 
listener, however, only after a long 
wait, filled with many disappointments 
for broadcasters who aspired to put the 
famous organization on the air. Great 
stars from the stage and moving pic- 
tures went into radio. Leading states- 
men made regular use of the networks. 
Celebrated concert artists, and even 
members of the Metropolitan's own 
company, sang for the microphone. But 
officials of the company would not hear 
of the Metropolitan going on the air. 

Successful operas were given from 
broadcasting studios. The Chicago 
Civic Opera Company, next in impor- 
tance to the Metropolitan, inaugurated 
broadcasts from its stage, and continued 
them year after year. Still the Metro- 
politan refused to recognize the artistic 
capacity of the microphone. 

Giulio Gatti-Casazza, who has piloted 
the Metropolitan to its position at the 
top of the nation's operatic organiza- 
tions and now is rounding out his 25th 
year as its general manager, and his 
assistant, Edward Ziegler, are cautious 
and conservative men. For years they 
questioned the technical perfection of 
radio. They were afraid that broad- 
casting would not do justice to the 
beauty of their music. 

At last, however, O. B. Hanson, NBC 
manager of technical operation and en- 

By Vance 

gineering, succeeded in removing their 
fears in this regard, and on Christ- 
mas afternoon, 1931, "Hansel and 
Gretel" was broadcast to the nation 
from the stage of the Metropolitan. 
The following week brought a series 
of Saturday afternoon broadcasts to 
continue throughout the season. 

"Beautiful Christmas gift to music 
lovers of the world," telegraphed 
Nikolai Sokoloff, director of the Cleve- 
land Orchestra, and musical critics and 
authorities throughout the country 
echoed his comment. Patrons who had 
held boxes in the opera house for years 
breathed a sigh of relief when they en- 
tered, and found no changes or altera- 
tions in their beloved opera house. 


ANY boxholders had 
expected to see the auditorium littered 
with broadcasting equipment, the artists 
half hidden from the audience by micro- 
phones. Instead they found everything 
just as it had been before the broad- 
casts, for there is very little evidence 
in the auditorium that the performance 
is being heard beyond the walls of the 
opera house. 

Two engineers and an announcer sit 
quietly in a box in one of the upper 
tiers, nothing but the earphones over 
their ears and a small black control 
box on a table in front of them to indi- 
cate that they are other than members 
of the matinee audience. Otherwise the 
box they occupy is furnished just like 
a score of other boxes in the same tier. 

When the announcer is on the air he 
steps behind the engineers into the ante- 
room, which is separated from the box 
by a sound-proof glass door instead of 
the usual drapery. From this point of 
vantage, with his microphone out of 
sight of everyone in the auditorium, he 
watches the stage through the glass door 
and talks to the vast radio audience 
without danger of being overheard by 
adjacent box holders. 

Two sets of microphones, hidden in 
either side of the footlights, and another 
microphone, unobtrusively suspended 
high above the orchestra and well out 
of line of vision, complete the broad- 
casting arrangements which Gerard 
Chatfield, technical art director of the 
radio company, and the man who put 





the first Chicago Civic Opera on the 
air,- has worked out for the Metropoli- 

Despite the success of the first at- 
tempts, however, all was not clear sail- 
ing in regard to broadcasts from the 
Metropolitan. Time remained to tell 
how the radio audience would receive 
the operatic program, and what effect 
broadcasting would have within the 
Metropolitan Opera Company itself. 

It was feared that attendance at the 
opera house might suffer; that when 
listeners found how perfectly they could 
hear the broadcast music in their homes 
they would not take the trouble to go 
to the opera ; and that decreased at- 
tendance might cripple the company's 
finances to the point where the quality 
of its productions would be endangered. 

"I do not share this fear." Paul D. 
Cravath, chairman of the board of 
directors of the opera company, de- 
clared, however. "I believe that inter- 
est in opera will be so stimulated by 
broadcasting that listeners will flock in 
such numbers to the opera house — 
where they can see as well as hear opera 
— that we will have to build a new and 
bigger opera house to hold them." 

Cravath was right, and evidence be- 
gan to accumulate with the first broad- 
cast. The attendance at the Metropoli- 
tan on Christmas night, following the 
afternoon broadcast of "Hansel and 
Gretel," was greater than it had been 
on any Christmas night in years. 
Throughout the remainder of-the Metro- 
politan's first season on the air, new 
faces were seen in the audience in ever 
increasing numbers. 

Nor, at the end of the first season of 
broadcasting, was there any question as 
to how the radio audience would receive 
the Metropolitan Opera Company. 
Thousands of letters to the National 
Broadcasting Company and to the opera 
company testified to the enthusiasm with 
which vast audiences welcomed the very 
best in music. 

Veteran opera lovers, whose resi- 
dence away from the big cities kept 
them from enjoying their favorite ar- 
tists ; lonely housewives on the western 
plains, who had never had an opportu- 
nity to hear the works of the masters ; 
and school children, eager to hear the 
music of the great composers whose 

names they had learned ; wrote to echo 
the Cleveland conductor's Christmas 

Now, with the resumption of broad- 
casts for the second season, opera regu- 
larly is at the command of millions of 
Americans for the first time. An en- 
tirely new audience, heretofore unfamil- 
iar with opera, lies within the reach of 
the radio speaker. Far from decreas- 
ing attendance at the opera house, those 
in authority at the Metropolitan and 
NBC feel that broadcasting may be the 
incentive to an operatic revival in the 
United States. 

"I cannot help but feel that a new and 
wider interest in opera must be the out- 
come of our efforts," the NBC presi- 
dent, M. H. Aylesworth, said. "Radio 
may be the instrument of an operatic 
renaissance that will stimulate the build- 
ing of more new and modern opera 
houses. Not only will New York and 
Chicago profit, but longer tours by the 
leading companies, with appearances in 
the local theatres throughout the coun- 
try, seems a logical consequence of radio 
opera in the millions of American 

That this revival of interest created 
last year had more than a temporary 
effect was obvious from the opening of 
the new season this year. Instead of 
long rows of empty seats it was found 
on the morning of the opening day that 
only fifty of the 3,600 seats were left 
for last-minute purchasers. 

For the first time since the days of 
Enrico Caruso a man was to have the 
leading role at an opening performance. 
The man was Lawrence Tibbett in the 
Verdi opera, "Simon Boccanegra." 

Tibbett had received a great deal of 
radio publicity through his Firestone 
programs last year, and his new com- 
mercial programs are under way with 
the same sponsor again this year. 

The first opera to be broadcast was 
"Lakme." Absence of Deems Taylor as 
commentator brought various reactions 
from the radio audience in the way of 
mail. Milton Cross, the announcer, pre- 
sented a synopsis of the story of the 

On December 17, the first full-length 
opera was broadcast over the NBC- 
W JZ network. It was Mozart's "Don Gio- 
vanni" and consumed practically the en- 

Lily Pons, French prima donna, whose art- 
istic discovery made her popular not only 
as a singer but also as a romantic figure. 

tire afternoon. The cast was as follows : 

Donna Anna Rosa Ponselle 

Don Giovanni Ezio Pinza, ba>^ 

Don Pedro Leon Rothier, bass 

Octavio Tito Schipa, tenor 

Donna Elvira Maria Mueller, soprano 

Zerlina Editha Fleischer, soprano 

Leporello Tancredi Pasero, bass 

Masetto Louis d' Angelo, baritone 

The opera, of course, was picked 
up in its entirety from the stage in the 
course of the regular presentation. 
Tullio Serafin conducted the orchestra. 

With the manifested appreciation tor 
this kind of music and radio entertain- 
ment broadcasters feel that the trend is 
distinctly on the up-bound, a condition 
that will effect a new kind of creative 
effort in American musical composi- 
tion and art 


Hall Johnson, choir leader, has 
expressive fingers. They seem 
to touch invisible threads at- 
tached to each individual voice 
in his chorus. 

By Miriam D. Light 

BY THIS time you doubtless 
have acquired the Thursday 
night Maxwell House Show- 
boat habit. It has been coming 
to you regularly at 9 o'clock EST. 
since the beginning of October over a 
WJZ network, keyed out of the NBC 
studios in New York. Showboat is one 
of the distinct radio hits of 1932. In 
fact it should go down in history as the 
first of a series of super-productions 
along the same line, culminating in the 
Five Star Theatre, which goes out five 
nights a week and uses both NBC and 

On these two pages you see a few of 
the leading characters of this great 
radio production. There really are 60 
in the cast. But this will give you an 
idea of who's who if you really have be- 
come a regular listener. And then 
there a lot of people who work on this 
program whose names and voices you 
never will hear. In fact there is one 
very clever and amiable young woman 
who acts a part, and her name is never 
mentioned because it would spoil the 
built-up illusion of the show if the fact 
of her part was known to the average 
listener. You would recognize her 

Lanny Ross, aboard 
the Maxwell House 
Showboat, with 
dainty Annette 
Hanshaw at his 


name as the star in many another radio 
production if it were revealed to you 
here. But she is a good little trouper, 
and although she may make you cry, or 
make you laugh, her own personality is 
completely submerged. And there's a 
man who plays an unannounced part, 
and lie also is an artist of distinction. 

So the Showboat has many important 
things going on behind the scenes to 
make it a great production, and to make 
the names of those who are known to 
shine with even a greater lustre. The 
Showboat is in the hands of a very 
capable crew, and everybody connected 
with it is able, efficient and fully com- 
petent. A great deal of credit for its 
success should properly go to Edmund 
B. "Tiny" RufTner, the production man- 
ager. "Tiny" is so small that most 
people come all the way up to the level 
of his Adam's apple. This Showboat 
is the biggest thing he ever tackled, 

and he is giving it the best he has in 
him. It has to be good. 

Lanny Ross, the hero, too is riding 
to fame and glory on the Showboat. It 
is giving him the opportunity he has 
long deserved, and to which he is en- 
titled. Although he plays a character 
part, he still retains his own name 
of Lanny Ross. His sweetheart, the 
captain's niece, Betty Lou, is imper- 
sonated by Miss Audrey Marsh whom 
you see leaning over the rail there be- 
side the captain. She has a fine voice 
for the part and Lanny does not find it 
hard to sing to her with a touch of 
sentiment. After all, if a fellow is 
going to sing love songs to a girl, even 
if it is only in play, she ought to have 
an appeal for him, and Audrey has it; 
not only for Lanny but for her listeners 
in the radio audience. 

The cute little lass in the picture be- 
side Lanny is Annette Hanshaw, "the 


Audrey Marsh 
and Charles Win- 
ninger, as "Betty 
Lou" and "Cap'n 
H e n r y." How 
quaint they look! 


soubrette" of the Showboat show. She 
twinkles in a little spot almost by her- 
self as the blues singer. She is well 
known at home and abroad in that ca- 
pacity. And it's an absolute fact that 
the Prince of Wales has placed a stand- 
ing order for every record on which 
she sings. Her records sell like hot 
cakes in England — and they are a little 
hot at that, if you mean some of those 
more recent ones. 

Now you take Cap'n Henry — he's the 
one that makes them all walk the plank, 
but not like the old pirates did. It would 
be more to the point to say he is the 
one that makes them "tread the boards," 
because he is the boss of the show. A 
genial, lovable "Uncle Henry" to 
"Mary Lou." And he's just like that 
off stage, too. The part, as you doubt- 
less know, is taken by that greatly ad- 
mired veteran of the footlights, Charles 
Winninger — and don't you ever dare 

leave out that "n" and call him "Win- 
niger." Let's call him Charley, every- 
body else does. Charley is one of those 
kind of persons the mayor or somebody 
is always appointing to do things for 
other people. Just now he is chairman 
of the stage division of the Citizens' Un- 
employment Relief Committee of New 
York. And his manager, Pete Mack, 
is chairman of the stage division of 
Long Island. And they are both putting 
on drives to fight back the despair that 
confronts so many unemployed — espe- 
cially among the theatrical people — 
these dubious days. 

It was Jules Bledsoe, the famous 
colored baritone, who started those 
amazing song-skits you hear on the 
Showboat program. His portrayal of 
the frantic negro in search of his lost 
Chloe — through "the smoke and flame" 
was sensational. That is one of the 
things that keeps the Showboat so fas- 

"Chloe! Chloe!" Can't you 
almost hear Jules Bledsoe call- 
ing that piteous cry — just as 
he sang it in that thrilling 
dramatic version you heard 
over the air from the Show- 
boat ? 

cinating. To dramatize the songs, and 
act out the characters, gives a vivid- 
ness to the impression that will last a 
lifetime. The listening audience sent 
in a hurricane of applause notes. Then 
came the dramatization of "Poor 
Pierrot" from "The Cat and the Fiddle." 
A sparkling gem in a brilliant setting. 
And in this particular program there 
was an especially dramatic climax at 
the finish where Mary Lou decides to 
stay on the boat with her foster mother 
rather than to go to New York with 
her real father. 

There probably is no finer aggrega- 
tion of colored singers than the Hall 
Johnson choir. Sometimes they come 
to the studio in plantation costumes to 
sing their plantation songs. Hall John- 
son with alert gestures and sinuous 
fingers seems to electrify each singer 
to an ecstasy of vocal fervor. 

Molasses 'n' January, portrayed by 
Pick Malone and Pat Padgett, are two 
of the funniest coon characters on the 
air, no foolin'. They were very suc- 
cessful in New York over WOR as 
Pick and Pat. It's hardly fair to com- 
pare them witli any other blackface 
team, although the nearest semblance 
might be that of the Two Black Crows, 
Moran and Mack. 

Don Voorhees and his orchestra, who 
supply the musical background, also 
(Continued on page 31) 


It's zyilways 

New Year's Eve 


J^ew White's £tudio 

By Mark Quest 

WANT a grand time some 
evening ? Find somebody 
to take you up to Lew 
White's studio on Broad- 
way, just above Times Square, where 
the lights are the brightest of anywhere 
in the world. Go into that marble hall, 
let Joe, the elevator boy, take you up 
to the top floor, and then angle across 
the hall to a little door that opens into 
Lew White's studio. And you'll be sur- 
prised ! 

Lew is a regular. He entertains 
handsomely and frequently. A mild, 
quiet-spoken, blondish type — just a little 
undersized, pleasant in manner and 
usually smiling. He's a great artist, one 
of the finest pipe organists in the world 
but it doesn't worry him much. He en- 
joys himself and the society of others. 

There's an office at the left, as you 
enter, with flat-top desk, files, typewriter, 
secretary, and all the necessary appur- 
tenances for business — just as though he 
were a regular business man — but his 
friends are never bothered about his 
business. If once you are inside the 
door to Lew White's studio you are a 
guest, and are being entertained. You 
may never even see the office, but just 
walk right around it to the reception 
room, which is off the foyer, and sep- 
arated from the recital room by a win- 
dow. You may lounge in a comfortable 
seat and see the musicians, an orches- 
tra, or just Lew and a few singers play- 
ing for an audience that extends far 
across the country. 

There are two pipe organs, and two 
consoles in this studio. If Lew wants 
a fellow artist to perform with him he 
lias all the necessary accommodations 
for double pipe organ work. 

Many of the most famous entertainers 
in the world have performed for camera 
and microphone in the Lew White 

studios. All the "Organlogues" you 
have seen in the movie theatres have 
been made there. You may remember 
some of them, such as Harry Richman, 
Lew White and Norman Brokenshire 
in "I Love a Parade". Singin' Sam, 
Tasty Yeast Jesters, Street Singer, Sid 
Gary, the Four Eton Boys ; and as these 
lines are written preparations are un- 
der way to make a "short" there with 
Sophie Tucker as the star. 

Amusing incidents have happened 
that could fill a book in the telling. One 
of the most interesting occurred some 
time ago when Andy Sanella and a hot 
dance orchestra were playing, and Dick 
Robertson was singing for an NBC 
broadcast. There are windows that 
open onto a roof. Sometimes street 
noises come up from below when there 
is unusual clamor, although they are 
never loud enough to pass through the 
mike. In the midst of this program all 
heard the clang of fire engines. Soon 
there was a smell of smoke. It seeped 
into the studio beneath the door. There 
was a loud trample of boots in the hall 
and sound of axes smashing at walls. 
The smoke became so thick the artists 
had to put handkerchiefs over their 
faces. But the program was not inter- 
rupted, and none of the radio audience 
knew what was going on. As the pro- 
gram ended (with "Turn on the Heat", 
by curious coincidence) the firemen 
were already cutting through the wall 
to the organ chamber. 

"Don't, please don't do that!" Lew 
pleaded with frantic alarm. 

"There's a fire and the place is burn- 
ing up," said the firemen. 

They asked if he was insured. He 
was amply insured, but. he could not 
bear to see his precious pipes mangled 
by fire axes. Fortunately the principal 
damage was confined to the adjoining 

building, and the studio, which savors 
nightly of that gay holiday spirit of 
New Year's Eve, was saved from seri- 
ous harm. 

Recently quite a crowd of us went 
up there — the night Nellie Revell had 
Lew for her guest artist on the "Voice 
of Radio Digest" program. We learned 
a lot about Lew none of us had ever 
known before. It took Nellie herself 
to make us all congenial and sociable — 
she has that way about her. So the fun 
was on before the program, during the 
program, and after she had said her 
usual "I'll NBCin' you." 

Draped over the chaks and lounges 
in the reception room, and "reception" 
means where you get your sound recep- 
tion from what goes on in the recital 
room were an assortment of entertainers 
and writers. Art Daly, the NBC pro- 
duction manager, gave us the signal that 
all was ready and there came Lew. He 
slid over on his bench and began finger- 
ing the keys. Dreamy, lazy music 
floated out of the console. Then we 
heard a familiar voice. 

"Let's go into the conservatory." 
That was Nellie. 

George Hicks, the announcer, an- 
swered her. Apparently Lew hadn't no- 
ticed he had visitors. He kept on play- 
ing to himself — and then suddenly he 
turned around. Well, it was all just as 
though they had not rehearsed it half 
a dozen times only an hour before. 

"Where do you want to sit ?" asked 
Lew, "in that arm chair or up here on 
the organ ?" 

"Guess I'll sit on the organist!" Nel- 
lie answered. 


slim young black-eyed pianiste who had 
been whispering to Mike Porter, the 
columnist, in the back of the room gig- 
gled out loud. 

But now we were listening to what 
Nellie had to say about Lew. 

"You know, the world and his wife 
come into Lew's studio," she confided 
to the WEAF network audience. "They 
come to enjoy the music and to inspect 
the wonderful pipe organ — so they say 
— but they never leave without sampling 
everything in his ice box. Every night 
is New Year's night at Lew White's 
studio ! And I was wondering if all these 
people here tonight really came up to 
listen to the broadcast or to partake of 
the waffles that Lew serves after the 

A little later on she gave us the low 
down on Lew's age. He was born in 
Philadelphia in 1900. His dad was a 
violin teacher, and he had a hobby of 
collecting antique instruments. Lew 
might have followed the violin if he 
hadn't have happened to grab up a val- 
uable bow when he was a very small 
bov and given it a swish over a chair 

back causing the fragile bit of wood to 
break into a million splinters, so that it 
was practically ruined like the One 
Hoss Shay. 

"So that's how Lew became an organ- 
ist," said Nellie. You can't treat a fine 
old bow like that and expect to become 
a good fiddle player, reasoned the elder 
White. Lew was deprived of his violin. 

But before he got to the organ Lew 
mastered the piano. Studied in the 
Philadelphia Musical Academy. He 
started playing in a nickelodeon and 
made fast progress. There was a Meth- 
odist church near where he lived and 
often he would hear the organ playing 
as he went by. One day he mustered up 
his courage to ask the pastor if he could 
practice a little on the organ. Inciden- 
tally he had, in the meantime, continued 
up the ladder until he had a well-paying 
position as pianist at the Bellevue Strat- 
ford Hotel. 

He was ashamed to let his fellow 
musicians think he was interested in a 
pipe organ for in those days pipe or- 
gans were associated with churches 
only. So, when the pastor had consented 
for him to use the organ in return for 
playing on special church occasions, he 
kept the matter to himself. He fell 
head over heels in love with this great 
instrument. One day he pulled out all 
stops and gave it the works. The sex- 
ton came running up from the basement 
all excited and wondering where all the 
melody was coming from. He told Lew 
he never had dreamed the organ could 
produce such volumes and abundance of 

That settled it. Lew was all hot for 
the organ from that time on and took 
up a course of special study at the Uni- 
versity of Pennsylvania. In six months 
he was playing the most intricate of 
classical compositions. He yearned for 
one of the bigger and better organs. 
Came a day when he went to play at 
the Willard Hotel, in Washington, and 
he had to pass a theatre where one of 
the very latest organs had just been in- 


_ HE organist at the con- 
sole did not seem to know what all the 
new gadgets were for — the vox hitmana 
and all that. Lew asked to take a try 
at it. The manager rushed down to see 
him and said that he must come to play 
the organ regularly. Lew said he 
couldn't break his contract at the Wil- 
lard. Then it was arranged that he 
would play at the theatre during off 

It was a heart breaking schedule that 
kept young Mr. White busy jumping 
back and forth for nine months between 
the Willard and the Metropolitan thea- 
tre. As a result of this experience he 
was made an amazing offer by the Stan- 
ley amusement company and that was 
how he got into the big money class. 

A few of these facts are supplemen- 


tary to those related by Miss Revell as 
we sat there listening to her. She told 
about his making records for the Bruns- 
wick company and finally how he be- 
came chief organist at the Roxy thea- 
tre in New York. He also has been 
made chief organist at Radio City. 

"Lew White is five feet four," said 
Nellie, in conclusion, "weighs 150 
pounds, has dark brown hair plastered 
back like my own, wears quiet clothes. 
While he has a keen sense of humor, he 
is serious, sympathetic and kind, highly 
sensitive and rather credulous. Has 
been on NBC for fn-e years." 

His sympathetic understanding has a 
great deal to do with his successful in- 
terpretation of musical moods through 
the organ. After the program had 
ended and a few of us were gathered in 
the conservatory while other members 
of the party were scattered over the 
place he sat down to play Ferde Grofe's 
"Knute Rockne Suite". Ferde, himself, 
had gone up to the studio loft where the 
famous icebox of which Nellie had 
spoken had been opened for exploration. 

In a moment all the gay chatter and 
singing had ceased. The guests crowded 
(Continued on page 4S) 



By Richard Hyman 

CAN you picture the Mayor of 
Scarsdale, N. Y., or Peoria, 
Illinois, wearing a crown, or- 
dering troops about, collecting taxes, 
beheading subjects and appointing 
envoys, councillors and other dig- 
nitaries of state ? 

Robert L. (Believe-it-or-Not) 
Ripley, recently returned from an ex- 
tensive trip to distant lands to gather 
material for his forthcoming National 
Broadcasting Company programs. 
The little countries visited by 

Ripley were the Vatican State, Goust, 
Tavolara, San Marino, Andorra, the 
Balearic Islands (Mallorca, Menorca, 
Ibiza), Corsica, Albania and Monaco, 
where the famous city of Monte Carlo 
is located. 

The Vatican State, although one of 
the smallest independent states of the 
world is of course the best known, 
because for centuries it has been the 
sovereign residence of the Papal 
rulers of the world. 

In these little monarchies and re- 

Believe it or not this is Robert L. Ripley himself. 

publics, Ripley has uncovered amaz- 
ing facts and believe-it-or-nots. 

Let's hop aboard with Ripley and 
visit these places to discover to our 
amazement, believe-it-or-not, that: 

The Vatican state is the smallest 
independent state of the world 
it could be entirely gold plated with 
100 ounces of gold ... it has only 
one Negro citizen and one American 
born woman, the niece of a priest, 
employed in the Vatican .... the 
only political refuge is a dog 
street cleaners from Rome require 
passports on entering the Vatican 
gates for work .... the Vatican has 
the smallest railroad in the world 
It's 300 feet long. 

Next we go to Goust, the sec- 
ond smallest state of the world situ- 
ated in the lower Pyrenees to find to 
our amazement that: 

There are but twelve houses in 
Goust. . . . About twelve families in 
the entire state .... the 70 citizens 
are governed by a council of elders 
.... and 98 per cent of the residents 
live to be 100 years old or more. 

Then we make our way to Tavolara 
and find that the island kingdom was 
created one day by King Charles 
Albert of Sardinia, who was drunk 
one day and deeded the land to a' 
lobster fisherman. 

Next we go to San Marino. The 
country is 32 square miles .... elec- 
tions are held in a church . . . only 
two coins have ever been minted, and 
they are still in use. . . . Two pictures 
of American presidents hang in the 
Government house, but no one in San 
Marino knows why. 

Let's skim through these other 
countries, where to our amazement 
we find that in Andorra the seat of 
government is in a remodelled stable 
.... visitors are initiated by wearing 
the president's tri-cornered hat which 
was made in New York .... and two 
men periodically travel to France and 
Spain for the country's mail. 

In the Balearic Islands we find 
other strange facts. In Mallorca 
there is a tax on store signs . . . the 
military march is Wagner's "The Last 
Supper" .... a night watchman an- 
nounces his hours with a horn. 

In Corfu married women encircle 
their heads with long braids of hair. 
In Yugoslavia a mysterious river 
originates from nowhere. The aver- 
age man in Corsica is 7 feet tall .... 
dead men are buried sitting on their 
horses held up by twigs. 

In Monte Carlo no hymn is ever 
sung bearing a number less than 37 
.... this prevents gambling on hymn 
numbers .... People who work in 
Monaco, including actors, are not al- 
lowed in the Casino. 

And all that is true, as Ripley found 
out, believe-it-or-not. 



By Anne Cooley 


NOTHING like this has hap- 
pened to us for a long, long 
time. Like most good things, 
it happened suddenly, and 
Nino Martini was signed by Columbia. 

The moment his voice came flooding 
into our living rooms, he was welcome. 
Even addicts to popular music forgave 
his operatic intrusion upon the air- 
waves, for his voice held such a treas- 
ure of beauty and warmth that it quite 
made up for the usual diet of syncopa- 
tion. And those of us who had com- 
plained bitterly we hadn't enough of 
Good Music, and treasured carefully the 
heavenly moments spent with Toscanini, 
the Philadelphia orchestra, Damrosch, 
Ernest Hutcheson and Howard Bar- 
low, as oases in a drab desert, were en- 
tranced. We sat rigidly in our living 
rooms and planned to be rude to any- 
body who spoke while it went on. 

We were further delighted to hear 
from Julius Seebach at Columbia that 
he would sing for us twice a week, each 
Tuesday and Thursday at 11:30 p. m., 
arias from an extensive repertoire of 
Italian, French, Spanish and English 
compositions. And Julius Seebach 
added, "Beyond a doubt Nino Martini 
has one of the most beautiful voices it 
has ever been my privilege to hear. 
Like the great Caruso, he does more 
than vocalize ; he dominates the arias 
he sings." 

Nino Martini was born in Verona, 
Italy, and his father was custodian of 
the legendary tomb of Shakespeare's 
immortal Romeo and Juliet. Nino 
Martini has "made fair advantage of 
his days — his years but young, but his 
experience old." The brilliant young 
Italian tenor, only twenty-eight years 
old, already counts outstanding suc- 
cesses in operatic and concert appear- 
ances in this country and abroad, num- 
erous movie shorts, full length pic- 
tures, and radio performances, among 
| the triumphs of his budding career. 

The beautiful Campo Fiera, which 

I houses the tomb of Romeo and Juliet, 
was his playground. As a small boy, 
sports were his love, and he excelled in 
them, star of the Verona rugby team, 

and one of the town's best hprsemen — 
by far the most headlong and reckless 
— for everything Nino did, he did fast. 
He discovered that he had a voice 
himself, though it was not in Nino's 
carefree plans to embark upon a musical 
career. But when it became noticed, it 
was no longer his own voice, to raise 
high and full when he felt like it — it 
was everybody's voice, and he was 
urged to cultivate it for everybody. To 
study music was somewhat of a sacrifice 
to the lackadaisical Nino, for the life 
of a music student is one of culture and 
discipline. That rigorous discipline and 
self-denial still prevails today, for Nino 
is obliged to give up tobacco, wines — 
even ice cream and iced drinks, because 
he has found them slightlv detrimental. 


.HE studious days be- 
gan quite unexpectedly and firmly after 
he had received an audition from his 
compatriots, Giovanni Zenatello and 
Maria Gay, the teacher's wife. A na- 
tive of Verona, Zenatello was a member 
of the La Scala Opera Company at the 
same time as Caruso. This same couple, 
beloved artists of the days when Ham- 
merstein directed the Manhattan Opera, 
also were discoverers of Lily Pons and 
other Metropolitan stars. 

The Zenatellos were immediately im- 
pressed with Nino's possibilities, and 
practically adopted him into their home 
as a son and an apprentice. He applied 
himself constantly from six in the 
morning, until his bedtime at 8 p. m. 
No more larks and harum-scarum days, 
but quiet, small happinesses belonged to 
Nino now. At the end of one year, he 
was allowed to sing at charity concerts 
in Verona, but it was only after three 
years that the Zenatellos pronounced 
him ready for an operatic debut. 

He was introduced through the opera 
"Rigoletto," and his success may be 
judged by the fact that an eminent im- 
pressario was so affected upon hearing 
him sing, that he thrust into his hands 
the score of "I Puritani", and pleaded 
with young Martini to set to work im- 
mediately to learn that brilliant opera of 
Bellini, which the composer had dedi- 
cated to the immortal tenor Rubini. 

Nino Martini 

The impressario had a plan — a ver- 
itable "coup de theatre". Not since the 
great Rubini's death had "I Puritani" 
been sung in Italy in its original key. 
as there had been no tenors since his 
day capable of properly executing the 
stunning aria which attains D natural 
three successive times. Martini's suc- 
cess in it was overwhelming and led 
to a series of performances. 

The run was interrupted solely for 
the reason that Martini had by a pre- 
vious contract that called him to the 
Kursaal at Ostende, the famous water- 
ing place of Belgum, where only artists 
of the first rank are permitted to con- 
certize. His first song there was an- 
swered by a thunder of applause, which 
continued half an hour. The audience 
insisted on an encore, by drum-taps of 
walking sticks and frantic cries of "Bis ! 
Bis! Bravo! Bravo!" Martini scored 
at Ostende one of the greatest triumphs 
in years. 

He returned to Italy, and sang for 
Toscanini at La Scala ; but again recital 
contracts prevented him permanently 
joining the company. At a Paris re- 
cital he was heard by Jesse Lasky who 
signed him for performances in talking 

In 1929, Martini was starred in five 
short pictures, filmed in the form of 
concert recitals. With his close friend. 
Maurice Chevalier, he was featured in 
"Paramount on Parade." 

In August of 1930, Martini returned 
to Italy with his mentors, the Zenatellos, 
to prepare an extensive operatic rep- 
( Continued o:i page -IS) 



By Hilda Cole 

IT IS GOING to be very hard to 
draw a picture of Andrea Marsh, 
but I may as well begin by saying 
she is a Honey, and she looks just 
like she sounds — her face has the same 
soft and dreamy quality as her voice. I 
bet a nickel (no more) that numerous 
dialers of the cynical variety, listening 
to the wistful delivery of love songs, 
wonder what kind of a girl she really 
is. Others, looking at her picture, have 
said a little sourly, "You can't tell me 
she's only seventeen." 

However, I can offer no better proof 
than that Andrea does everything pos- 
sible to shroud her youth in sophistica- 
tion, and does not utterly succeed. The 
first time I ever laid eyes on her was 
at the Penn Grille, and I took particular 
notice of her, as did everyone else. She 
wore a black dress, with something that 
glittered on the shoulders, and she took 
her place in the front row of Ted 
Weems band as nonchalantly as Jimmy 
Walker, jiggling one foot irresistibly 
in time to the music. I thought at the 
time that something was going on be- 
hind that automatic, impersonal smile of 
hers, and I discovered later I was per- 
fectly right. Andrea likes to watch peo- 
ple, and enjoys snatches of conversa- 
tion. She wishes she were "O. O. 
Mclntyre, or somebody." 

I asked her how she likes college 
men. "I think it's cute, the way they 
dance," admitted Andrea, "but I think 
they're giddy." (Andrea adores to 
dance, but she hasn't time these days.) 

"Giddy," I pondered, for I adore col- 
lege men, and I saw no reason what- 
ever why she shouldn't adore them too. 

"I like older men best," said Andrea, 
"Of course not REALLY old men. 
Not over twenty-four." 

I chuckled gently, and having passed 
the twenty mark myself I felt suddenly 
as if J had one foot in the grave. 

"Andrea, what does your Ideal Man 
look like?" 

"I don't know. I've never been in 

I looked incredulous and slightly in- 

"Really, no," she said, "I'd like to be 
in love. It's a little monotonous not 
getting excited about anybody. I never 
go out on dates now, or anything. I've 

heard so much about being in love, I'd 
really like to know what it is." I was 
silent. "They say it's marvelous," she 
added serenely. 

"Yes," I said simply, "but aren't 
there any qualifications for an Ideal 

"Blond," said Andread (she herself 

JTyHEN a girl interviewer interviews 
** a girl artist what do they talk 
about? Read 20-year-old Hilda Cole's 
interview here with Adrea Marsh, 17 
years old, who sings that sweet "Rock- 
a-by Moon" song on the gingerale hour 
which Fred Allen glorifies of a Sunday 
night. It's on CBS. 

is the materialization of brunette loveli- 
ness, with appealing, deep brown eyes). 
"And I'd have to hold him way above 
me. He'd have to be the boss, not me." 
(Men, there is hope, there is hope for 
the race of man.) 

"Have you any ideas about people in 
love ?" I questioned. 

kJHE looked doubtful, then 
suddenly inspired. "Well, I know a lot 
of people in love I think shouldn't be." 

Andrea's mother who is her stand-by, 
and chauffeurs her everywhere in their 
Ford, "Skippy" (because, according to 
Andrea "it just misses hitting every- 
thing"), suddenly spoke up out of a 
Sphinx-like silence. 

"I think I know you better than you 
know yourself, Andrea," she interrupted, 
and then turned to me, "She likes men 
to have a sense of humor. Andrea has 
one herself, and if people don't catch 
on to things, it irritates her." 

There was a slight pause, during 
which Andrea buried her face in her 
fur collar, like an ostrich. Evidently, she 
wasn't enjoying the prosecution much. 

"She likes babies, too," said Mrs. 
Marsh. Andrea did not deny this, "She 
likes to hug them when she sees them 
in carriages." 

For some obscure reason, this re- 
minded me of puppies. I asked her if 
she liked dogs. 

"Wire-haired terriors," she said, "not 
Pekinese. I think they're terribly lazy." 

"Tell me what you think of this busi- 
ness. Hasn't it disillusioned you?" 

"Some," admitted Andrea. "You 
don't have many real friends, I mean, 
and these people who flatter you gen- 
erally have something up their sleeve." 
"Beware the Greeks bearing gifts." 
(And if this is a misquote, who cares?) 

Andrea likes clothes, especially hats 
and shoes. The hat she wore nearly 
slew me with jealousy. 

"Do you have lots of things to wear?" 

"Enough," said Andrea, firmly. 

Andrea loves to ride horseback. She 
doesn't have time now. Apropos to my 
question of whether she'd had any amus- 
ing experiences, she said, "Well, I fell 
off a horse once, down South. Every- 
body seemed to think that was funny. 
I didn't." 

All of a sudden, when she'd been 
asked how it felt at seventeen to be 
featured with Ted Weems at the Penn, 
and starred in the Canada Dry over 
Columbia network, she said, "I think 
it's thrilling, but it makes trouble. Mu- 
sic publishers think you're getting high 
hat just because you can't push their 
songs, and get down on your knees to 
them. I haven't much to do with the 
songs I sing, but they think that's an 
alibi, and they tell me I can't afford to 
be snooty. This makes me mad. Be- 
cause if it's anything I hate, it's 
affected women that pretend to be what 
they aren't, and if there's anything that's 
poisonous, it's a big head in this busi- 

I asked her who her favorite singer is. 

"Mildred Bailey," said Andrea, 
"and I don't care if she isn't on your 
network." (I am a rooter for CBS — 
and we both made a face at each other.) 

In finality, I learned that Andrea has 
never studied music. It looks like 
Greek to her, or Chinese, or something. 
Her very pet dream is to design and 
build a log cabin in the mountains. 

She consulted her watch and jumped 
up wild-eyed. 

"I've got to be at work at six," she 
gasped, "and I've got to get dressed 
formally before then, so I must go." 

And she vanished, like a slender appa- 
rition through the door. 


Andrea Marsh 

THIS IS ANDREA— the exquisite Andrea Marsh 
who sings so deliciously at those dreamy interludes and 
postludes of the Fred Allen gingeral divertissement on 
CBS of a Sunday night. Andrea is only seventen but if 
you don't think she is sophisticated just ask her and see 
what she says. 


By Hal 


These are the Car- 
son Rbbison cow- 
billies who took 
London by storm : 
Bill Mitchell, Pearl 
Pickens, Carson 
Robison and John 


NOW when Carson Robison 
and his Pioneers, consisting 
of himself, Miss Pearl Pick- 
ens, John Mitchell and Bill 
Mitchell, set out from the American 
shore to visit London, the main idea 
was that they were to make records — 
because the English people have a great 
fondness for the gramophone. 

Well sir, they hadn't more than got 
off the boat and paid their first visit to 
the recording studios when a smart En- 
glish booking agent landed on them like 
a mountain cat leaps on a spring calf, 
and he dragged them over to one of the 
swankiest spots in town — the Berkley 

"Now you go ahead and do your jolly 
old whoopee, or whatever it is, and let's 
see what happens," said the chap. 

It was a right good piece of change 
the fellow offered so Carson said he 
guessed it would be all right and away 
they went ! 

Well, you should have seen those En- 
glish swells sitting around at the tables. 
They pricked up their ears, haughty 
dames gawped over their lorgnettes, and 
soon one old lady joined in a live song 
and shouted right out, "Whoopee" ! 
Others looked startled but they soon got 
over their surprise and joined in the 
fun. It turned into a riot of applause 
for Carson and the bunch. 

The lords and the ladies and the 
dukes and all the gay dogs stormed 
around and wanted to be American hill- 
billies. They didn't know what hillbil- 
lies looked like, but they had a fair idea 

about cowboys, so the Pioneers dressed 
up like cowboys and a visiting Amer- 
ican who saw and heard them said they 
must be some sort of a combination — 
so he called them "Cowbillies". 

They were the talk of London. They 
were hustled about from one show spot 
to another, and everywhere they went 
they seemed to strike popular fancy. 
People whistled their songs and echoed 
their colloquialisms. But they did not 
forsake the Berkley, where the smart set 
had been the first to recognize them. 
Recording companies would not let them 
rest and they broke precedent by going 
on the records for more than one con- 

cern. In fact during the comparatively 
short time they were there they finished 
67 records. 

Besides that they appeared on pro- 
grams at the British Broadcasting com- 
pany four times. Here again precedent 
was broken. Programs over the BBC 
are set six weeks in advance and rarely 
is the schedule changed in that interim. 
Each of the four appearances meant a 
cancelled program in favor of the 
American "cowbillies." 


Carson Robison, top hand of the London 

HEY bewitched the 
younger set. Denis Conan Doyle, and 
Adrian Conan Doyle, sons of the late 
novelist, followed the Americans to 
their rooms and talked about the Wild 

"And do you ever read that terrible 
stuff in the cheap novels and pulp mag- 
azines of the Wild West ?" asked Adrian 
Conan Doyle of Robison one night. 

"Certainly I read them," Robison re- 
plied, "why not?" 

"Well, I'm glad to hear you say you 
do," Doyle replied. "I'm passionately 
fond of them." 

They found mutual friends in such 
authors as H. Bedford Jones, McLeod 
and Will James and many other writers 
of Western life. The American mag- 
azines of Wild West stories have bigger 
vogue in England than they do in the 
United States. 

Prince George and the Prince of 
Wales watched the Cowbillies perform 
(Continued on page 25) 





THE COLOR of far-away 
places, strange peoples — the col- 
or of rare and original char- 
acterization — the color of sus- 
pense, action, quick change — all con- 
tribute to the irresistible spell which the 
"Chandu" mystery drama casts over all 
who listen to it. And what a host of 
followers this thrilling story has won ! 
The sponsors, Beech-Nut Packing Com- 
pany, have been literally swamped with 
letters since the program first went on 
the air early this year — letters mount- 
ing into the hundreds of thousands. 

King of Magic they call the clever 
Chandu, and as he extricates himself 
and the Regent family from the in- 
fernal plots of his enemies, he reveals 
far more than mere common sense. 
Gayne Whitman, in the title role, has 
made Chandu a living, breathing per- 
sonality, a character of flesh and blood 
but — and here's the secret of his fascin- 
ation — a character with an occult sense. 
Mr. Whitman's superb work largely ex- 
plains why the listener feels as well as 
hears the "Chandu" story. 

The Princess Nadji of Celeste Rush 
is another masterpiece of characteriza- 
tion. "Chandu" fans who remember 
this charming actress' amusing roles in 
RKO moving picture comedies or her 
performance opposite Warner Baxter 
in "Romance of the Rio Grande" will 
be amazed at her versatility. It is a 
consummate test of acting ability for a 
"Westerner" to capture and interpret 
the weird mysticism of the far East as 
Miss Rush has done. 

The presence of an American family 
in "Chandu" provides that essential of 
good drama — contrast. Margaret Mac- 
donald, Robert Bixby and Betty Webb, 
who take the roles of the Regent mother 
and children, are old favorites in stage 
and radio circles. They make you live 
through their hair-raising escapes and 
mysterious maneuvers as the story 
moves from one adventurous episode to 

To assure a proper atmosphere for 
"Chandu," sound effects are continually 


employed. How these effects are pro- 
duced is very much of an old story, for 
the studio factotums responsible for 
them have not hidden their secrets. But 
some people may not know of the care 
which must be taken to prevent the new 
dynamic "mike" from catching sounds 
which have no place in a performance. 

1 HE TALE is abroad that dur- 
ing the playing of one of Beech-Nut's 
programs an explosion boomed in two 
different parts of the script when it 
should have occurred only once. After- 
wards the sound effects man emphat- 
ically declared he had been responsible 
for but one explosion, which of course 
did not satisfy the program monitor 
who had perfectly good ears. Finally, 
one of the actors spoke up. Sure enough 
he had dropped a pin during that part of 
the script when no explosions were de- 
sired. A fine program ruined — all be- 
cause of a dropped pin ! But — maybe 
it is only fair to add that the pin in 
question was a rolling pin, due to pro- 
vide the sound of a moving tractor dur- 
ing a later program. 

While on the subject of sound effects, 
it will be a surprise to many to learn 
that Celeste Rush, mentioned above, is 
the person responsible for those shrill 
vocalizations of the famous Mickey 
Mouse. It's a far cry from mimicry 
of human animal voices to the por- 
trayal of an exotic Oriental siren, isn't 

As a successful commercial program 
on discs Chandu probably takes first 
place, judging from the amazing de- 
mand for the free magic tricks that are 
offered by the sponsor at the conclusion 
of each broadcast. 

At least, listeners like it so well that 
thousands of them nightly take out pen 
and paper and write in to their station. 
Quite a novelty, Beech-Nut's giving 
away these fascinating tricks — the mul- 
tiplying billiard balls, the Hindu cones, 
Ching Ling Soo coin trick, and the rest ! 
Grown-ups are as keen to get them as 
are the children. 

Cow billies 

(Continued from page 24) 
at tne Derby Ball. The Marchioness of 
Salisbury complimented them and in- 
vited them to a private party at Lon- 
donderry House where the Duke and 
Duchess of York were the guests of 
honor. They appeared at private par- 
ties for Lady Barron, Lady Weigoll and 
Princess Obolinsky and others. 

And it was while they were whooping 
their way around London in this gay 
fashion that a representative of the Bar- 
basol company came across them, 
recognized their popularity and told 
Carson Robison to look him up as soon 
as he came back to America. 

This resulted in the "cowbillies" go- 
ing on the NBC network as the "Bar- 
basol Roundup" via WEAF every Tues- 
day and Thursday evening at 7:30. 



Lovely Lee Wiley is Proud of Her 
Indian Blood — Wins Success three 
Months from Day She Left Oklahoma 

By George H. Corey 

I AST autumn a girl from a little 
town in Oklahoma, visiting New 
A York, was taken to the Central 
Park Casino. It was her first 
time inside a smart New York night 
club. She gazed with excitement at the 
couples whirling smoothly over the 
floor. On the orchestra platform Leo 
Reisman and his boys propelled the 
dancers with hushed notes of syncopa- 
tion. The dim lights, the music and the 
soft autumn breeze had the effect of 
magic upon the girl from Oklahoma. 

From childhood she had been singing 
and now she dreamed of herself as 
really a part of this setting. The dancers 
became dim and even the music was 
hardly audible as her mind carried her 
deeper into the realm of imagination. 
She was awakened from her dreaming 
with a start when her escort gently 
touched her arm and said, "Lee, I want 
you to meet my friend, Leo Reisman, 
the leader of the orchestra." He then 
introduced the girl to Reisman and 
added, "Lee, I want you to sing for 
Mr. Reisman tonight. I think he should 
hear you." 

Was her face red ! She tried to pro- 
test, but what started in her throat as 
words ended in stammered bits of noth- 
ing. She couldn't talk. Before she could 
collect herself she was poised alongside 
the big piano in the deserted porch wing 
of the Casino. Reisman ran his fingers 
over the dusty keys and broke into the 
melody of "My Man," playing in a low 

In the quiet of the empty room her 
smooth, deep voice brought a new note 
(if plaintiveness to the old song. A small 
group of listeners exchanged glances in 
silence as they communicated the feel- 
ing aroused within them by her voice. 
They seemed to forget they were listen- 

ing to a singer. It was more like one 
telling a story — a story that came from 
the heart and was told in rhythm. Then 
came the end of, the song and the listen- 
ers relaxed from the tenseness that had 
gripped them while the girl sang. Reis- 
man sat motionless before the piano, 
his eyes focused upon her. 

Two weeks later Lee Wiley made her 
first radio appearance on the Pond's 
program, singing choruses with Leo 
Reisman's orchestra. She continued in 
this part until this fall, when Leo gave 
her a more prominent position on the 

Though it has been a long trek from 
her birthplace, Fort Gibson, Oklahoma, 
a former Indian defense outpost, to 
New York, Lee admits with a shrug of 
her shoulders that she made the jaunt 
quickly. Though she had sung for many 
years, beginning first in the village Sun- 
day school at Fort Gibson and later in 
concerts in Tulsa and Muskogee, she 
had never thought of herself as a radio 
artist. She admits that no one was 
more surprised than Lee Wiley when 
she found herself singing over the air. 

Miss Wiley half boastfully admits of 
being one fourth Cherokee Indian. The 
rest is just plain American. Coming 
from a family of teachers, both mother 
and father teaching in the Oklahoma 
State Normal College, Lee says she 
would probably have followed their 
footsteps if she hadn't developed as a 

Something Lee never learned in 
school was how to sing a ballad of love 
in that infectious style that makes her 
seem to feel very deeply the emotions 
suggested by the words. Maybe this 
came naturally to her, but the manner 
in which she projects the amorous 
vibrations of her voice through the 

microphone is radio art in its most 
effective form. 

This little girl who tells stories in 
song over the air lives alone in an apart- 
ment in the upper fifties in New York, 
close to the NBC Fifth Avenue studios. 
The whole apartment is decorated in 
pure white, touched here and there with 
bits of scarlet. At a tiny piano in one 
corner of her living room this pretty 
songster may often be seen for hours 
at a time writing her own musical 
compositions. "South in My Soul" is 
one of hers and now she is working on 
one to be known as "Anytime, Any Day, 
Anywhere." You will goon hear it on 
the air. 

When not writing music or reading 
Lee's likely to be found cantering 
around the bridle path in Central Park. 
She has her own horse, and coming 
from the country where men are men 
and the women ride horses she is right 
at home on the back of her animal. 

Lee's transformation from the modest 
little girl living in the upper fifties, to her 
studio personality, marks a contrast worthy 
of any legitimate stage actress. The care- 
free, laughing manner so characteristic of 
her away-from-the-microphone-personality 
is shed like a cloak the moment she ap- 
proaches the broadcasting studio. Every 
external feature of the Cherokee songster 
becomes tense and every suggestion of the 
happy-hearted girl from Oklahoma van- 

An air of smouldering quiet comes over 
her. Her youthful face is transformed into 
sleek, Dietrich-like planes of tense white- 
ness. Her movements become slower and 
more deliberate, as she walks over the deep, 
sound absorbing carpets covering the stu- 
dio floor. Her greeting to the boys in Leo 
Reisman's orchestra is strained and for- 
mal, as though she were behind a glass 
partition, as one of the boys put it. But 
they don't mind it, for they know it is only 
a part of that strange self she will soon 
project over the air to her ever invisible 

For this one hour each week, Lee aban- 
dons the dozens of colorful frocks in her 
wardrobe and dons what she calls her 
"Mike dress." Cape-like and of black vel- 
vet it drapes softly about her contrasting 
effectively with the firm whiteness of her 
face and neck. 

The signal is given to stand by for the 
beginning of the broadcast. A hush comes 
over the studio and the orchestra players 
sit motionless, instruments poised for the 
first note of the program. Lee is standing 
close to her microphone, slightly huddled 
over a music stand. She seems to be riv- 
eted to the spot and from a side view gives 
the suggestion of a priest, in his black sur- 
plice, leaning over the pulpit. 

The orchestra is nearing the end of its 
introduction, and the announcer is standing 
by. A soft, plaintive tone flows over the 
studio. Lee is singing. 

If you ask Lee if she is nervous during 
the program she will reply with a shrug 
of her shoulders and an uplifted hand, from 
which dangles the torn shreds of a hand- 
kerchief, "One of these to a broadcast." 
Carelessly she will flick the torn bit of 
chiffon to the floor and slip quietly out of 
the studio. 


Lee Wiley 

Z 3 ITTLE did her Cherokee grandmother in a remote part of Okla- 

X^ homa ever dream that this exquisite young woman would some day 

charm the entire nation with her songs. It was only a few months ago 

that Lee Wiley journeyed to New York, obtained an audition, and went 

on the air as soloist for Ponds over an NBC-WEAF network. 




By Margaret Hastings 

An isolated trapper's cabin with 
the aerial hung from trees 


TELLO the North!" I won- 
der how many people who 
listen in realize just what 
this phrase means to their 
far Northern neighbors. Most people 
get a "kick" out of hearing their 
names announced over the radio, but 
the Northerner tunes in, hoping to 
hear his name, for a far different rea- 
son. To him, it means a message from 
loved ones, news from home. 

I am familiar with the "new" 
North ; the Slave and Mackenzie 
River valleys. I do not know the older 
part of the North, around Hudson's 
Bay as I have never lived there, but 
am sure that conditions are much the 
same in both these remote districts. 
Until 1930, mail was brought by 
steamer in Summer, and by dog team 
in Winter, from two to six mails a 
year, depending on the location of 
the settlement. Now it is brought by 
aeroplane approximately once a 
month, but in the Fall, during the sea- 
son of freeze-up, and in the Spring, 
during the season of break-up, several 
months elapse in which the only com- 
munication with the "outside," as we 
refer to civilization in the North is 
by radio. 

Business communications and ur- 
gent personal messages are of course 
sent through the Government Wire- 
less Stations, operated by the Royal 
Canadian Signals. They handle com- 
mercial business, connecting with 
land lines at Edmonton, Alta., and can 
assure the sender of delivery in any 
fort which boasts a station. This 
service has been a great factor in the 

development of the Far North ; but 
many of the smaller settlements 
which have no station and also the 
trappers out in the bush, rely on the 
broadcasting stations for all news. 
Even in the forts, everyone looks for- 
ward to Northern Broadcast Night as 
many personal messages, not impor- 
tant enough to warrant the expense 
of sending over the key may come 
through the courtesy of the stations 
which provide this feature. 

During the periods of "break-up" 
and "freeze-up" this broadcast is par- 
ticularly appreciated. As the rivers 
afford the only highways (planes 
using skiis in Winter and pontoons 
in Summer; never wheels), any mode 
of travel is impossible at these times. 
They are periods of complete isola- 
tion. The aeroplanes penetrate farther 
and farther North as the rivers tight- 
en in the Winter or as the ice clears 
in the Spring. Last year a mail plane 
from the "outside" landed at Fort 
Simpson the same day the ice stopped 
running, but anxious as they are to 
bring the mail, the fliers cannot leave 
until they receive word that there is 
a safe landing. This information is 
furnished by the Royal Canadian 
Signals Radiotelegraph Service, which 
for a very nominal charge will also 
supply any pilot with complete and 
accurate weather reports taken by 
trained observers. 

Speculation as to whether or not 
reception will be good starts the day 
before the Northern Broadcast. If 
the Northern Lights are brilliant — 
quivering curtains of color shooting 
across the sky — the 
night preceding the 
broadcast, a feeling of 
depression prevails as 
this gorgeous display 
of lights generally is 

Royal Canadian Sig- 
n a 1 s Radiotelegraph 
Station at Fort Simp- 
son, N. W. T. 

an indication of very poor reception 
twenty four hours later; but if con- 
ditions seem favorable, any person 
possessing a radio set may expect 
friends to drop in to hear the broad- 

Some excellent music is tuned in 
but it fails to compel the attention or 
hold the interest and the reason is 
apparent. It is nearly time for the 
Northern news. Everyone is ex- 
pectantly waiting ; watches are con- 
sulted frequently, and two or three 
sit at the table, pencils poised, ready 
to jot down messages as they come 
in. At last the announcement is 
made, and the first letter read is for 
Bill W. at Fort Liard. "Who is he, 
I don't think I know him," someone 
says. "Oh, of course you do: he is 
the policeman who went in last 
Summer." A message for Mr. L. at 
Great Bear Lake. "Oh be sure to 
get this ; it's for Jim. He may not 
hear it, but we can take it down and 
send it on to him at the first oppor- 
tunity." Another letter. "For you, 
Jack!" and all are elated at someone 
present being fortunate enough to re- 
ceive a message. 

So we listen eagerly, not prompted 
by curiosity but by interest and 
friendship. If the message contains 
good news, we rejoice; if it brings 
bad news, we grieve. All joys and 
sorrows are shared in the North. 
There are so few white people in all 
that vast area that we somehow feel 
like one big family, bound by ties 
which bring us much closer to each 
other, though separated by hundreds 
of miles, than friends would be "out- 
side" in the hurry and competition of 
a bus}' world. 

When the magic hour is over, we 
listen to music and perhaps dance to 
orchestras from big hotels. Who 
cares if the nearest theatre or any 
other place of amusement is over a 
thousand miles away with no railroad 
to bridge the distance? We can and 
do enjoy the splendid radio pro- 
grams; music, lectures, stock and 
(Continued on page 46) 



By Arthur J. Daly 

(NBC Production Manager) 

Arthur J. Daly 

IN THOSE halcyon days of not 
so very long ago when I was a 
student at college, I had the ill 
fortune to have a marked pro- 
clivity for tardiness. There was some- 
thing in me which abhorred rushing 
into a classroom before things got 
started, even as nature abhors a 
vacuum. Just my luck then after a 
start like this, where minutes, even 
hours meant nothing, to come into 
radio which deals exclusively in time, 
and production work where minutes, 
and seconds, yea even instants are of 
the utmost importance. 

But this is not a treatise on broad- 
casting nor an exploitation of the 
functions of a production director 
therein. However, I am going to try 
to give a few slants on studio per- 
sonalities and how they work. And 
may I say right here that although 
the microphone has no eyes, it is a 
great little personality catcher. When 
the attention is focused entirely on 
the voice, the microphone senses and 
knows without having to see or be 
told just how poised the artist is, just 
how much warmth the actor is ra- 
diating, just how sincere is a laugh 
or a tear. 

A thing which has always been of 
great interest to me, is the psychology 
behind a good show. To some artists 
and actors there is never any psy- 
chological feeling to be overcome — 
they are just naturally "mike-con- 
scious." To them it is neither a bug- 
a-boo nor yet a thing to be spoken 
down to — it is simply the mechanical 
means- of helping them to get their 
ideas or artistry across to a great 
number of people. Such artists have 
a genuine regard for the great power 
of old man "mike" but they never 
allow it to hide their own personali- 
ties. It goes without saying that 
these are the really successful ones 
in Radio. 

But there are others, and their num- 
bers are more legion, who somehow 

never seem to get on intimate terms 
with a microphone. They are con- 
tinually holding it at arms-length or 
treating it as though it represented a 
paid audience that was supposed to 
appreciate whatever was deigned to 
be said to it. And this is true of 
many people who have scored heavily 
in other mediums such as the stage 
and the concert field. 

Not apropos of the aforesaid but 
an interesting slant on how the mike 
affects some great artists, was the 
first appearance of Rosa Ponselle on 
the air. She finished her opening 
number and had five minutes before 
her next aria. She went out to the 
corridor behind the studio. I hap- 
pened to come by and told her how 
beautiful her song had been. She 
said "Yes, but look at me" and held 
out both hands. They were trembling 
with as much agitation as though she 
were a schoolgirl about to make a 
graduation speech. 

On daily dramatic shows the psy- 
chological factor plays a very impor- 
tant part. The very fact that for a 
part of every day the players are 
leading the life of the characters they 
portray, sometimes makes the tran- 
sition a difficult one. Perhaps some- 
thing in their own lives goes wrong 
and puts them in a low mood. There 
are many times like this when a script 
would suffer in the playing were it not 
for a timely joke or pleasant word to 
break the tension before going on the 


N RADIO every night is 
a first night calling for the production 
of a new script. One has to be a 
trouper. There is no chance to let 

Another factor affecting broad- 
casters psychologically is microphone 
position. Some cannot work if the 
microphone is an inch too high or too 
low for them. Some must be seated 
while they work, others must stand. 
In the old days there was no such 
thing as a "table-mike" and all were 
forced to stand. Since its innovation 

several years back it has won in- 
creasing favor with broadcasters. 
Floyd Gibbons as the "Headline 
Hunter" was one of the first to make 
regular use of this type microphone 
and now many others regularly use it 
— Heywood Broun always does. Two 
women broadcasters, whose person- 
alities are otherwise as apart as the 
poles, namely Nellie Revell and Ger- 
trude Berg (Mollie Goldberg to you), 
also have this mutual preference. 
Both are extremely "mike-conscious" 
and seem to be able to get about any 
idea they want to across "dat old 
debbil mike." It is interesting to 
note that both of these women broad- 
casters write their own material and 
as a result both have a much more 
sensitive touch in handling it than as 
though they had come to it "cold." 

In general people who come to 
radio from the vaudeville or the legi- 
timate stage have a much harder time 
getting acclimated than those who 
have adopted it as a first means of 
reaching an audience. One factor that 
seems to defeat many of these players 
and singers is that they forget that to 
radio they are newcomers. They 
have established names in the older 
mediums and they are inclined to 
think that that will help to carry them 
along in radio. Unfortunately going 
at it from this viewpoint, many of 
them start at the top and work down, 
while real success in radio has to 
come to those who started simply and 
unostentatiously at the bottom. 

The announcer plays an important 
though often underrated part in help- 
ing a show to click. The announcer 
sets the pitch of a show, and if he 
gets it off to a flying start with a well 
poised and punchy opening, the artists 
take the tempo and get into stride 
from the first word or the opening 
bar of music. 

One of my favorite theories as to 
making a dramatic show register has 
to do with timing in the sense of the 
speed of playing. I have always felt 
that a radio show should be played 
i Continued on page 47) 


Broadcasting from 

The Editor's Chair 

IN THIS issue of Radio Digest you will read something 
about the Five Star Theatre of the Air. It really rep- 
resents a milestone in radio broadcasting — the consum- 
mation of a great many efforts directed toward a higher level 
of radio entertainment. 

Editorial attention is called to this feature because in a 
way it embodies ideas proposed in these columns something 
over a year ago, when it was suggested that a large block 
of time should be taken over by some single interest to pro- 
duce a "magazine of the air" with diversified features as 
suggested by a magazine. Floyd Gibbons was proposed as 
the editor. 

Although that idea contemplated the use of four or five 
hours for a single evening's schedule, with all kinds of spe- 
cial and general interest features the Five Star Theatre cuts 
the block into five parts and spreads it over the week and 
two networks. The allusion to the magazine was carried 
to the extent of having certain musical programs to serve 
as illustrations, comedy features for humor department, 
dramatized stories for short story fiction, and a serial story 
to continue from "issue to issue." 

These things are to be found in this ambitious — the most 
ambitious and significant program development of the year. 
The humor section comes at the beginning of the week with 
the Marx Brothers ; fiction comes of a Tuesday with drama- 
tized stories by popular authors, and the authors themselves 
to make the introductions in person. Then comes the serial 
on Friday night with Charlie Chan. The Aborn operettas 
provide the beautiful pictures. It's all good entertainment. 
Whether or not it is best to spread the series over five in- 
stead of doing it all in one evening is a question for debate. 
There are arguments both ways. Certainly a crackerjack 
schedule comprised as the Five Star could be placed on a 
period from 8 or 8:30 to 10 or 11 in one evening on one 
network and very likely catch nearly everybody that listens 
at one time or another. The same might be said that at least 
one of the half hours during the week would be apt to snag 
practically every listener at least once. Perhaps the strong- 
est argument on the part of the advertiser is the claim that 
the scattered program would probably get over a broader 

THERE has been some tall experimenting in handling 
the commercial announcements. Count Felix Von Luck- 
ner did an excellent job of it, when he told how the Germans 
had worked out a chemical process during the war to im- 
prove oil and then how this process had been put to use by 
the sponsor to produce a finer product here. In this regard 
the Five Star made another advance, which is worthy of 
notice because the use of the commercial salestalk has been 
the slowest part of program development to make progress. 
It is absurd to side with the extremists who insist that the 
sponsor need only be identified by his card. You have to 
give him a better break than that for his money. 

The general crudeness of the advertising plug is due, no 
doubt, to the perfectly natural instinct of the advertising 
agent to use the best display methods he can get for space — 
whether it be time or white paper — at his command. The 
entertaining angle is something new and a little vague to 
him. But when it comes to the ballyhoo that's right up his 
alley and he gives it the benefit of the best traditions of ad- 
vertising. He is somewhat like the stage star taking his 
first dip in the ether wave. He knows his own stuff in his 
own element. He resents anybody telling him that he has 
to consider different psychological factors. He says adver- 

tising is advertising whether he 
uses air or ink. 

Here is where the American 
Plan of Broadcasting must stand 
the brunt of attack from its en- 
emies. Here is where Achilles la 
Radio had better twist his shin 
guards around to his heels for there 
are plenty of people who know that vulnerable spot and are 
going to do their best to stick a knife in there. 

Let's get together and cut out the crashing superlatives, 
the thundering challenge and loud whoops about ours being 
the "biggest" and the "greatest." Run through your mind 
some of those oft-repeated phrases that you have come to 
detest. In sheer spirit of revenge we'd like to spread them 
out here for you to point at with scorn. But if you named 
one, six or a hundred you'd be unfair because there are as 
many more just as bad. Radio entertainment is on the way 
up to higher levels, the commercial plug is dragging. Let's 
look at it from all sides, give the listener a chance to enjoy 
the program without dreading the barrage of extravagant 
self-praise; and then, as listeners, let's not be too intolerant 
of the man who puts up the cash. He's new at a game that 
is itself still very young. He doesn't want to hurt your 
feelings, but he very justly wants you to know he is there 
behind the program and he'd like you to look at his wares. 
Some day he'll find a clever way of showing them to you 
through your ears that will give you a thrill, just by the 
mere act of exhibition. He'll show you and you'll really 
like it, and you'll swear because of it you'll give him your 
patronage. Don't expect too much all at once of a twelve- 
year-old. Growth and Progress are on the air. 

THE radio hecklers are already sitting on the steps at 
the Capitol in Washington, impatiently whetting their 
spears and twanging their bows while they demand that 
Congress shall again this year order another investigation 
of "radio in all its phases." Times are hard. Jobs are scarce. 
Radio is in demand. But you have to have something if you 
are going to ride along on the radio bandwagon. You have 
to have something besides a chisel and a yen for political 
potpie. Radio pays entertainers, business executives, writers, 
technicians, clerks, stenographers, page boys and elevator 
operators but it has nothing in itself for the sour mugs who 
hope to enrich themselves by wreck and plunder. The heckl- 
ers have lean ribs these days. They don't seem to fit any- 
where, and pickin's are mighty poor. If they can put over 
a whopping big bureau to run the United States Broadcast- 
ing Department they will swim in the gravy. That's why 
they are sitting on the Capitol steps polishing their spears 
and twanging their bow strings — if they can only corral 
enough Congressmen ! 

LAST year it was Columbo and Crosby who were bari- 
toning at each other across the ether way from rival 
networks. This year it's Morton Downey and Donald Novis 
who will soon be tenoring together on the same NBC net 
and the same program. Everybody is asking why. Every- 
body is curious as to how it will work out. And that's just 
what the sponsors want — besides, maybe it isn't a bad idea 
after all to get a couple of rival tenors tripping over the 
same notes on the same microphone. And think of the talk 
it will make ! Downey is already made, he'll have to hold 
his own against the comparatively new Mr. Novis who will 
be trying to out-sing Downey. And one of them, we know, 
has a non-cancelable contract for twenty weeks. 


She Plays 



By Herbert Polesie 

ORDINARILY one wouldn't 
think that teaching history to 
grammar school children was 
in itself much of a preparation 
for radio stardom, but for Rosaline 
Greene, dramatic star on two networks, 
it proved the ideal background for the 
part — or parts, we should say — she has 
come to play on the air. 

This talented, pretty girl has always 
been an omnivorous reader, and book 
women to her have always been real, 
but she hardly guessed all through her 
school and college days her great knowl- 
edge of customs, wars and characters of 
history would help her in impersonat- 
ing the glamorous ladies of history. 

Rosaline Greene, has portrayed such 
a wide range of characters both real and 
fictional, that she can't remember the 
number. She once played several parts 
in six radio plays in the course of one 
week, and consequently doesn't feel it 
a bit odd to find herself talking to her- 

Of the great women of history, she 
has interpreted the characters of twenty- 
five for the radio audience, but when 
she is asked how she manages to do it, 
she merely shrugs her shoulders, and 
points to the long row of books of his- 
tory and biography in her library. 

If you manifest a deeper interest in 
her portrayals, however, she will de- 
scribe some of the better known ladies' 
characteristics in detail. She will tell 
you Cleopatra's voice was high, clear 
and quick, that Lucrezia Borgia's utter- 
ances were as subtle as her poisons, that 
Marie de Medici spoke in an emotional 
and fiery manner, Catherine of Russia 
positively and almost masculine, and 
that if you would interpret Catherine of 
Aragon you must transport yourself into 
an ascetic, religious and convent-bred 

Moreover, these are only a few of 

Rosaline Greene 

has one true love 

— she loves her 


the great ladies Rosaline has portrayed, 
and it is safe to say no woman lives or 
ever lived who is not susceptible to a 
vivid, realistic interpretation by this 
gifted girl. Joan of Arc, Nell Gwynn, 
Evangeline, DuBarry, Camille, Pompa- 
dour, Josephine, Elizabeth, Helen of 
Troy, Priscilla, Pocahontas, Marie 
Antoinette, La Valliere, Eloise, Mary, 
Queen of Scots, or Portia, they have 
all been studied closely and classified in 
Rosaline Greene's wide repertoire of the 

Rosaline Greene was trained in the 
hard school of the WGY pioneer troupe, 
famous back in the chaotic and adven- 
turous DX days of radio, after she had 
worked her way through New York State 
College by dramatic parts on the radio. 

She was part of the first efforts to 
cast for vocal types — something previ- 
ously unheard of — and it was in the 
discovery that a certain type of voice 
was unmistakably associated with a 
dainty blonde or a glamorous brunette, 
and that, too, age, education, character, 
background and disposition became aud- 
ible qualities, that the course of her 
radio career was directed. How well 
she has succeeded may best be shown 
by her winning the Radio World's Fair 
Award in 1926 for owning "the perfect 
radio voice." 

Rosaline's latest starring vehicle, 
"The Luck of Joan Christopher," heard 

thrice weekly over WOR, finds her in 
the character of an attractive, young 
girl from the Middle West abroad in 
New York in search of fame and for- 
tune who becomes involved with a suc- 
cession of men offering her aid but de- 
manding a price for their assistance. 
The romance is from the pen of Val 
Lewton, well-known serial writer. 


(Continued from page 17) 
play on the Ed Wynn program and 
have distinguished themselves on sev- 
eral of the leading programs over both 
chains. The Showboat is wired to 48 
stations; from WIOD at Miami, Flor- 
ida, to KOMO, Seattle, Washington. 

The Showboat has particularly inter- 
ested river residents who remember the 
original showboats when they flourished 
at their best. For example a letter was 
received recently from a fair listener 
in Memphis, Tenn. It was addressed 
to Charley Winninger and said : "When 
you locked the wharf master at Friar's 
Point, Mississippi, in your office last 
Thursday night, in fancy I saw again 
the miserly, mean old fellow who ran 
that wharf thirty years ago. and re- 
membered vividly my personal experi- 
ences with him." 

This was quite a surprise to members 
of the community staff as the character 
was fictitious. 





By Rudy Vallee 

THE SONGFELLOWS, who are among the first with 
the latest tunes from the Chicago studios of NBC-WJZ. 
Fridays 9:30 EST. (Left): Ray McDermott, John Raven- 
croft, Frances Bastow and George Howard. 

/MIGHT just as well blindfold 
myself, reach into the hat, pick 
out a slip of paper, and talk about 
the first song written on the 
slip that I first pull out. This month's 
"Tuneful Topics," in my humble opin- 
ion, is really what gamblers call a toss- 
up ; that is, each song is about as good 
as the other. As I have previously said 
so many times, I like nothing better 
than to be able to put on a legitimate 
"rave" about at least one of the songs 
which I list here monthly. Whether 
the boys are going dry, or just what is 
wrong, I am not going to attempt to 
say, but it does seem that it is difficult 
for them to write tunes like "You're 
Driving Me Crazy," "Goodnight Sweet- 
heart" and "Let's Put Out the Lights 
And Go to Sleep." Not that these 
songs which I am listing this month are 
not good songs ; in fact, several of them 
will unquestionably be your favorite 
song, and you may be quite indignant 
that I did not class your favorite tune 
as a great tune. Nevertheless, aside 
from my own personal hunch and feel- 
ing about them, I have the statistics of 
sheet copy sales, phonograph record 
sales, and general financial remunera- 
tion from them to the publishers them- 
selves to back my statement that few, 
if any, of the songs will reach the two 
hundred thousand mark which today is 
a criterion for an outstanding hit. 

So, reaching into the 
hat, I pull out a slip of 
paper with the title, 

liked the song when I 
first heard it, and as I 
said on my broadcast, 
on the afternoon I 
listened to that, I also 
listened to several other 
tunes written by Joe 
Young, of whom I have 
perhaps spoken too 
often in these columns. 
In fact, it was in the 
last "Tuneful Topics" 
that I mentioned the 
strength of the vocal 
rendition at the time 
Joe Young sang three 
or four songs for my 
edification. But it would 
seem that among the 
songs he sang, this one 
was really the one in 
which the firm of Irv- 
ing Berlin, Inc., has implicit faith that 
the song will become very popular. 

The story of the song, at least as it 
has been told to me, is that it is a 
Viennese composition originally, written 
by Egon Schubert and Werner Bach- 
mann, and has been all the rage in 
Vienna. It was brought to America by 
Irving himself, and the subsequent 
American version was made by Joe 
Young and Con Conrad, both thor- 
oughly capable of revising for Ameri- 
can approval this type of composi- 

The tune has an outstanding triplet 
formation with six quarter notes, each 
quarter ordinarily having one beat, to 
avoid six beats in a four beat measure, 
each three of the quarter notes is played 
as a triplet, which is to say the two pairs 
of three quarter notes being cramped in 
each measure so as not to exceed four 
beats. The odd effect of directing this 
odd type of phrasing is one which re- 
quires good timing on the part of the 
director, and the effect upon the listener 
is one of doubt as to whether all the 
notes will be played within the limits 
allotted to them. The effect, however, 
is fine in this particular composition, 
and is the outstanding characteristic of 
the tune. 

By this time the mellow voice of Jack 
Fulton and many others has brought 
the composition to you, and as some of 

you know we intend to use it for sev- 
eral weeks as our signing-off tune on 
the Fleischmann's Yeast Hour. We 
play it quite slowly, taking at least a 
minute to the chorus. 

Kahn and Harry Woods must have had 
a reunion when Harry was in Chicago 
last, with the result that from time to 
time we may look for many songs 
written by these two extremely gifted 
writers. Harry, of course, is still tak- 
ing bows for his "We Just Couldn't 
Say Goodbye," and Gus will always be 
taking a bow for a clever lyric here and 
there. This time the boys decided to 
write a very simple, what is popularly 
termed in the profession, "corny" type 
of song, nevertheless the type of song 
that most publishers feel properly 
worked on will eventually sell copies 
to the humble country masses who like 
this so called hill-billy, rustic type of 
melody and lyric. 

Joe Morris is the publisher, which 
means that Archie Fletcher sensed the 
possibilities of the tune. While Archie 
would have liked to have put it out as a 
waltz, realizing the antipathy of most 
bands to the playing of waltzes, he 
found it necessary to make a new fox 
trot arrangement. Thus the tune is re- 
ceiving considerable treatment at the 
hands of many of the best bands and 
singers, and bids fair to become a good 
seller for the firm of Joe Morris." 

J_ _/ H. Cleary, at one time had as- 
pirations to become an Army officer, 
and as a result he graduated from West 
Point with added fame as a great foot- 
ball player. This ambition he realized 
while at the Academy. Unquestionably 
he was one of the most popular fellows 
there, largely due to his ability to play 
piano and entertain the cadets during 
the monotonous evening hours. He 
would play and entertain them, with not 
only other people's songs, but songs of 
his own creation. As so often happens, 
the thing that was just a hobby with 
him then has now become his life's am- 
bition and his life's work. Following 
his resignation from the Army he 
entered into the field of song-writing, 
determined to make a success of it. 

Some of the songs from the "Third 
Little Show" came from his musical 
mind, among them "I'll Putcha Pitcha 
in the Paper," which is one of the wit- 
tiest and cleverest compositions of its 
type I have yet run across. I believe 
the melody of "Here It Is Monday" 
was his, though at first Mose Sigler, his 
lyrical collaborator, had a different idea 
for the song, something along the lines 
of "Brother Can You Spare a Dime," 
perhaps. But Frank Kelton, one of the 
directors of musical affairs for Shapiro 
Bernstein, believed that the college idea 

should be worked into the melody, and 
the result is "Here It Is Monday And 
I've Still Got a Dollar," the whole idea 
being that the boy who is fortunate 
enough to have a dollar after a week- 
end of hilarity and visits to the girls' 
colleges and the big city, is the most 
popular man on the campus due to the 
fact that he is the campus banker, at 
least until the .next check arrives. 

The song is a cute one, with an odd 
type of melody and rhythm — a bit dif- 
ficult to sing due to some of its con- 
struction — -to my way of thinking a bit 
too clever for popular consumption by 
the masses. It is a song that one will 
hear a great deal over the air, which 
will help to increase Shapiro "Bernstein's 
radio rating with the Ameri- 
can Society, though even that 
may not mean much these days, 
as the society will not receive 
as much as it had hoped to re- 
ceive from the many renditions 
of music by its member writ- 
ers, and some of us are won- 
dering just what is going to 
happen to the publishing houses 
and the writers with this last 
source of revenue turning out 
to be extremely inadequate. But 
"Here It Is Monday" is a good 
song, and Michael Cleary being 
a very capable and friendly 
sort of fellow, I hope the song 
does well for him. 

the picture, "Here Lies Love" seems 
to be extremely popular. We play it 
quite slowly, taking about a minute to 
the chorus. 


morrow" is an obvious attempt 
on the part of the writers of "Good- 
night Sweetheart," my good friends 
Jimmy Campbell and Reg Connolly, 
who are also the biggest song publishers 
in England and the Continent, for that 
matter, to attempt to achieve another 
"Goodnight Sweetheart." I believe Ray 
Noble, a young orchestra leader in Lon- 
don, is really responsible for the idea 
and skeleton of the "Goodnight Sweet- 
heart" song, but that does not prevent 

J_ J. dark horse of the pic- 
ture, "The Big Broadcast," is 
the song which Bing Crosby 
sings shortly after his girl is 
supposed to have jilted him. It 
is a good opportunity for him 
to sing a sad and mournful 
type of thing, which would in- 
dicate he has been left sort of 
high and dry, and the song is 
"Here Lies Love." Like 
"Please," it was written by Leo 
Robin and Ralph Rainger, two 
of the "last- of the Mohicans" 
left on the Paramount movie 
lot to write songs for pictures. 
Leo Robin, especially, has been 
one- of the few writers retained from 
the early gold rush days when Holly- 
wood had all of our best song-writers 
writing for the talkies. Ralph Rainger 
is unknown to me ; the name does not 
sound at all like a song-writer, and just 
what part he plays in the composition I 
do not know. I shall have to ask Larry 
Spier for information concerning Mr. 

Larry is the guiding hand of Famous 
Music, which firm publishes the songs 
you hear in most Paramount pictures. 

With many numerous requests while 
on dance tours, "Here Lies Love" bids 
fair to exceed the popularity of its 
brother number, "Please;" even though 
"Please" is the hit and reprise song of 

DORIS ROBBINS is heard from Chicago over the Co- 
lumbia System. She's with the Ben Pollack orchestra 
at the Chez Paree; they call her "The Angel of the Air." 
You may remember her in "Whoopee." 


trip. If I might humbly judge from the 
first song submitted, or the first song 
which was the result of a collaboration 
between Matt, Campbell and Connolly, 
called "Till Tomorrow," I would say that 
I was a trifle disappointed. I sincerely 
hope that among the three or four num- 
bers written abroad that Robbins will 
have brought back one potential hit. 

Jimmy Campbell has come back to 
America with Robbins and intends to 
make his residence here for some time. 
There is no one who knows the art of 
writing a song, selling a song, and its sub- 
sequent exploitation better than Jimmy 
Campbell, but even all this is of no avail 
if the song itself is not outstanding. 
"Till Tomorrow" so closely followed in 
rhythm and thought "Good- 
night Sweetheart," that it is 
almost laughable, and the open- 
ing measure has the tonality of 
a third violin or a second alto 
saxophone part in an orches- 
tra; that is to say it sounds 
much more like a harmony parr 
than a melody. Still, it is these 
odd tonalities which sometimes 
grow on one until enthusiasm 
is engendered with the result- 
ant enthusiasm for the compo- 
sition itself. 

In the end it will be you 
radio listeners of Radio Digest 
and others who will make your 
own decision concerning the 
merits of this composition 
which was so laboriously writ- 
ten in London by an American 
brought there to help write it, 
and then brought back to 
America for publication. Nat- 
urally Whiteman was the first 
to introduce it as Matt saw that 
his old boss received one of the 
first orchestrations of it. \\ e 
were privileged to follow 
Whiteman's premiere of it and 
with the efficient organization 
of Robbins Music, Inc., behind 
it, you will hear much of it in 
the next several months. \\ e 
play it quite slowly. 

Messrs. Campbell and Connolly from 
working with Whiteman's concert 
master and fine violinist in producing 
another "Goodnight Sweetheart." Jack 
Robbins has just returned from Eu- 
rope; on the trip he took Matt Mallneck 
with him, believing that Matt has pos- 
sibilities within him that merely need the 
proper atmosphere for expression and 
development. Robbins will probably be 
eternally grateful to Matt and Gus Kahn 
for giving him "I'm Thru With Love." 
Matt Mallneck is unquestionably a 
clever fellow, and only time will tell 
whether Jack Robbins was wise in 
spending the amount of money and at- 
tention which he unquestionably did in 
taking him on an expensive European 

r?IT AS A FIDDLE. One doe> 
iP hear or see a great deal of Rocco 

Vocco who makes his headquarters at 
Leo Feists' elaborate publishing house 
at 50th Street and Broadway, but the 
fact that nearly every radio program 
has at least one Feist song would indi- 
cate that Rocco is picking some line 

Little Miss Peggy Healy, one of 
Whiteman's newest finds, who, inci- 
dentally is working here in Brooklyn 
with me at the Paramount this week, 
was, I guess, greatly responsible tor the 
beginning popularity of one of the now 
Feist songs, "Fit as a Fiddle." She i.- a 
young lady who has a sort of indefin- 
able "something which seems to appeal 


to a great many people. I was a great 
deal surprised to notice the crowd col- 
lecting in front of the bandstand when- 
ever she sang a song during one of my 
recent visits to the Biltmore where I 
enjoyed Paul Whiteman's music. Her 
rendition of the song on the Fleisch- 
mann's Yeast Hour seemed to please 
many, and this week at the Paramount 
it is her best number. 

Its "break" in the middle, i.e. the 
logical spot for the orchestra to stop 
playing and somebody to do something 
unusual, which is often "felt" to be nec- 
essary in the middle of many tunes, es- 
pecially of the rhythmic type, in this 
particular case is a stereotyped "break," 
using the very popular phraseology 
which I first heard uttered by the "Old 
Topper," Ray Perkins, "With a hey 
nonny nonny, and a hot cha cha !" The 
phrase, as far as I am concerned, is 
rather sickening, but the avid enthu- 
siasts and flaming youth singers of this 
type of composition, jump on the phrase 
with relish and it gives them a great 
delight in the rendition. 

The song is one of the cute, light 
things which gives a peppy singer, es- 
pecially the female pep singers of our 
dance orchestras, who have become all 
the vogue, a chance to really "go to 
town," as it were, and to finish in a wild 
blaze of glory. Messrs. Hoffman and 
Goodhart and Arthur Freed may take 
the bow for it, and it should be played 
very brightly. 

Santly brothers, of whom there 
were formerly three, with only two now 
remaining, are very happy in the 
thought of having a potential hit. I 
really believe that it is one of the best 
songs they have published in a long 
time. Distinctly odd in its construction 
it has the flavor of a typical Viennese 
or German type of waltz, especially the 
"Blue Danube" aroma. Jesse Crawford 
on his console at the New York Para- 
mount will do a great deal toward 
"starting" the song, as he is very much 
pleased with the composition, and it is 
a peculiar thing the unusual power that 
Jesse exerts on many of us who are par- 
ticularly interested in his rendition of 
any song. 

Peculiarly enough, though the song 
has a continental flavor, it is strictly 
home-brew, American made — Joe Meyer 
and Roy Turk. I was sorry to hear of 
the split-up of the team of Turk and 
Ahlert ; however, the parting of the 
ways was in a very friendly spirit, with 
each boy feeling that he preferred to 
free lance due to the unusual conditions 
of the business today. 

Evidently when Roy Turk and Joe 
Meyer got together to write this tune, 
they had in mind an attempt to write a 
typical "Zwei Hertzen" composition, 
the tune which was so successful for its 
publishers, Harms, Inc. If that was 

their ambition, they have certainly suc- 
ceeded. The song is dotted with eighth 
notes, and it is a very fast moving type 
of waltz, which from one viewpoint 
would demand that the tune be played 
slowly in order to get all the words and 
notes in with ease ; on the other hand, 
the old German and Viennese waltzes 
are best played extremely brightly. The 
latter was my preference on its rendi- 
tion of Thursday last. 

Being very partial to the 3/4 waltz 
rhythm, I was extremely happy to find 
one that would make our waltz spot fol- 
lowing Dr. Lee's discourse a better and 
brighter spot, and I hope that the Santly 
boys' optimism with "Du Hertzig" is 

O UZANNE. Larry Spier of Famous 
>0 Music is, in my humble opinion, 
one of the most alert thinkers in the 
long-suffering music profession. In 
fact, he is a very nervous person due to 
his tireless endeavors to keep his firm 
out on top, and he may always be de- 
pended on to have an unusual tli ought 
or scheme for any difficulty confront- 
ing the sale or development of sheet 
music. It was he who first thought of 
the idea of having five strategic "plugs" 
to "start" a song — two New York bands 
considered ace plugs, one in Chicago, 
one in Los Angeles, and the other in 
New Orleans or possibly the fifth in 
Chicago again. 

Larry's enthusiasm and his earnest- 
ness and conviction in his beliefs is 
sometimes pathetically humorous, espe- 
cially in his belief that many of us have 
passed up the opportunty to introduce 
and play hit songs by refusing to be- 
lieve in his confidence in them. In the 
case of "Suzanne," he has positively as- 
sured me that it will be a hit, so it is 
up to you to justify his prediction. 

As I said on my broadcast last Thurs- 
day, "Suzanne" is perhaps the most in- 
congruous tune I have come across in 
a long time; with the French title "Su- 
zanne," it has the locale of any young 
man in any country, especially a small 
town in the United States, considering 
himself a very fortunate young man in 
being able to take a little walk after 
dark with "Suzanne." There is noth- 
ing of the "oo la la !" French quality 
about the lyric whatsoever, or the mel- 
ody for that matter, not that because 
of the choice of the name "Suzanne" 
the song should have a French atmos- 
phere and locale, still it rather goes 
hand in hand. I like the song person- 
ally, though I think it is far from be- 
ing an outstanding top-notcher ; still, I 
am more than willing to be proven 
wrong so that Larry will be able to say 
once again, "I told you so !" 

We play it taking about 55 seconds 
for the chorus. 


another proof of the fact that no 

one can safely predict exactly what the 
public is going to like, is the fact that 
a simple popular tune called "All Amer- 
ican Girl" has come forward to first 
place ! Personally, I made a public 
apology on the Fleischmann Hour to 
Al Lewis for my lack of faith in the 
song when he first played it for me. 
In fact, he reminded me that it was 
over two years ago that he and Al Sher- 
man played the tune for me when we 
held an afternoon session at my resi- 
dence listening to the latest out-pour- 
ings from their musical talents. Among 
them they played this tune called "All 
American Girl." 

The chorus went on to state that the 
young lady had a center at this college, 
and a guard at that college, and a quar- 
ter back at the other college, and as a 
result she was an ail-American girl. 
Remembering that about a year previ- 
ously, in collaboration with Messrs. 
Coon and Sanders, I had written a song 
called "She Loves Me Just The Same," 
with the identical thought. I felt that 
a comparison of the two songs, and the 
popularity of "She Loves Me Just The 
Same" would be a fair indication of the 
possible popularity of "All American 
Girl." Despite the fact that both the 
Coon-Sanders aggregation and my own 
Connecticut Yankees recorded and 
broadcast religiously and thoroughly 
"She Loves Me Just The Same," it was 
far from being an outstanding hit. Its 
melody was swingy and melodic, and 
I believe we all did a good job in ren- 
dering the song. I could only conclude 
then that any other song written along 
the same lines would possibly fare the 
same mediocre fate of "She Loves Me 
Just The Same." Feist publishes both. 

As Al Sherman thumped out on a 
piano (the piano being always very un- 
fair in its demonstration of the melodic 
values of a song) the melody of "All 
American Girl," I felt that it was an 
extremely shallow type of melody and 
I still think so ! Imagine my surprise 
then when I find the song not only re- 
quested everywhere at . dances, but 
climbing up to first place in the list of 
best sellers. 

I am happy for Al Lewis, however, 
who has just taken on to himself a 
wife, that "All American Girl" will help 
furnish their new home. And, as al- 
ways, bowing to the will of Mr. and 
Miss Public, I have broadcast and fea- 
tured the song at dances ever since it 
has been brought to my attention that 
it is really a well-liked song. I hope 
that Al gets a dozen like it. 

IV 1 TUNES. I suppose I should 
conclude our "Tuneful Topics" with a 
discussion of some of the songs from 
some of the new shows. "GAY DI- 
VORCE," which opened last week, 
featuring Fred Astair and Claire Luce 
(Continued on page 48) 


arc ell a 



HOW do you do, Lucille! If 
you are not too angry with 
Little Bird and me, perhaps 
you will enjoy the following short 
but interesting biography of Philip 
Duey. That spelling? It is correct, 
but Mr. Dewey (as he is better 
known) has long ago given up trying 
to convince people that that was the 
name bestowed on him by a Pennsyl- 
vania Dutch f